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"In Walked Jimmy" 



BY 



MINNIE Z. JAFFA 




SAMUEL FRENCH. 28-30 West 38th St., New York 



(( 



In Walked Jimmy'' 



AN AMERICAN COMEDY OF 
OPTIMISM IN FOUR ACTS 

By '"•"' ^ Li^' 

MINNIE Z^ JAFFA 



Copyright, 1914, by Mrs. Ronie H. Jaffa 
Copyright, 1920, by Samuel French 



All Rights Reserved 



CAUTION: Professionals and amateurs are hereby 
warned that "IN WALKED JIMMY," being fully 
protected under the copyright laws of the United 
States, is subject to a royalty, and any one presenting 
the play without the consent of the author or her 
authorized agents, will be liable to the penalties by 
law provided. Applications for amateur performances 
must be made to Samuel French. 38-30 West 3Sth 
Street, New York, N. Y. Applications for the profes- 
sional acting rights must be made to Darcy & Wol- 
ford, 1402 Broadway, New York, N. Y. 



New York: 

SAMUEL FRENCH 

Publisher 

28-30 West 38th Street 



London : 

SAMUEL FRENCH. Ltd. 

26 Southampton Street 

Strand 






OCT -2 1320 



©GI.D 55(580 



'*V'.,i^ 



CAST OF CHARACTERS 

Jimmy, who walked in. (Lead) 

John Trellavan, owner of the "Cinderella Fac- 
tory." (Character) 

Arnold Baker, his nephew. (Juvenile Heavy) 

Hiram Higgins, his landlord. (Character Comedy) 

JosiAH Bartlett, a creditor from Rochester. 
(Character Heavy) 

Moses Graham, a creditor from Rochester. (Util- 
ity) 

Bobbie Day, shipping clerk at the factory. (Light 
Comedy) 

Billie Blake, Kitty's brother. (Juvenile) 

Andy, negro at the factory. (Utility) 

Officer. (Bit) 

Kitty Blake, bookkeeper at the factory. (Lead) 

Miss Rogers, the factory's forelady. (Character 
Comedy) 
Five girls who work at the desks in Second Act. 
Factory girls, mail man, express man, etc. 



SCENES 

ACT I : Office, Stock and Shipping Room in the 
"Cinderella Soft Sole" (Baby Shoe) Factory. One 
day in April. 8.30 A.M. 

"Into the Factory Walked — Jimmy T 

ACT H: Same scene as in Act L A few mo- 
ments later. 

"Into the Hearts of Men and Women Walked— 
Jimmy !" 

3 



4 "IN WALKED JIMMY" 

ACT III: Offices of the "Cinderella Corpora- 
tion." One morning in December. 

^'Into Trouble Walked — Jimmy T 

ACT IV: Same scene as in Act Three. Nine 
days later. 

"And r 

Locality — A manufacturing town of about 4,000 
population, near Rochester, New York. 

Time — The present. 

Jimmy is the symbol of right thinking in the person 
of a clever young business man who combines 
practicality with humanitarianism. There is 
nothing of the "high-brow" about Jimmy. He 
has learned that a smile goes further than any- 
thing else in the world — that man's greatest 
power is Optimism ! Spirituality blended with 
common sense is the keynote to Jimmy's char- 
acter. He is mentally alert, lovable, heroic, in- 
tensely magnetic ; at times, dashingly romantic ; 
then again, scientifically business-like, but al- 
ways acting in the vein of refined comedy. He 
makes his entrance thrilling because he invests 
himself with a mysteriousness which always 
hovers about him, — until the final curtain. 

John : About 65 — ^gray-haired, wrinkled, emaci- 
ated. The daily grind of business has deaf- 
ened him to the cry of the spiritual, the call of 
the Divine, that prompts man to love, to laugh, 
to sing. Yet withal, he is a type of man with 
whom you sympathize and never censure. At 
opening of play, his eyes hold an almost vacant 
stare and his hands twitch nervously. As play 
progresses, he changes to a man who has found 
a new thing in life — the joy that emanates from 



"IN WALKED JIMMY" 5 

the Well-spring of Right Thinking. His rever- 
ence for Jimmy must be brought out strong. 
Shabby clothes in Acts I and II. Thereafter, 
well-clothed and groomed. 

HiGGiNs: Large man, buxom, loud-mouthed, red- 
faced, hard, harsh. The type of man^who ac- 
cumulates money by "bleeding others." Typi- 
cal dress of the rich man of the village. About 
50 years of age. 

Bartlett: Refined city man; progressive. Tall, 
stoutish. 

Graham: Small weazened-up man with a thin, 
little voice. Cityfied, but not over-confident. 

Bobby: Chap of 22. Slouchy of walk, manners 
and appearance. As he brightens mentally, he 
brushes up physically. A real man in Acts III 
and IV; well-groomed, prosperous. 

Arnold: About 25. Tall, over-confident type of 
creature— a case of exaggerated ego; over- 
dressed; copies the style of the city chaps; is 
short on common sense and long on love- 
making. 

Kitty : Sweet, lovable of disposition, but showing 
firmness of character. She is the kind of girl 
who, never having been called upon to prove to 
herself her great worth to the world, does not 
realize her own mental and spiritual resources. 
There must be every evidence, in acting the 
role, of strength and self-reliance. In first and 
second acts, a plain dress Is worn. Thereafter, 
a suit — up-to-date! Kitty is about 24. 
Miss Rogers : Tall, angular features, pert expres- 
sion ; sharp thoughts; jerky diction. Hair, 
raven black and combed, slick back. Spectacles 
worn down on nose. Half of the time she looks 
over her spectacles, not through them, particu- 



"IN WALKED JIMMY" 

larly when she quotes, "My Mother's Sister 

used to say " Not until play is half over 

does she "warm up" to life and its beauties. 
Part should be eccentrically dressed. In Act I 
— a loud gingham apron over a black dress. In 
Act II, a small hat which is perched at a dan- 
gerous angle and a small, tight-fitting, out-of- 
date coat add to the incongruity of Miss Rog- 
ers' appearance. In Act III, she wears the same 
small hat, and an odd, laughable suit that seems 
to accentuate her eccentricities. Miss Rogers 
is about 42 years old. This part should be 
played as strong character comedy. 



(( 



In Walked Jimmy ^^ 



ACT I 

One day in April. 8.30 A.M. The Cinderella Soft 
Sole (Baby Shoe) Factory — office, stock room 
and shipping room. 

Scene: One large room. Down r., against wall, 
stands a high bookkeeper's desk with shelves 
beneath and above it. High revolving chairs 
beside desk. To R. of desk is a typewriter on 
small table. Chair beside it. A row of old 
musty books is on shelf below desk. On desk 
is an old dusting brush, r.c, window opening 
on a fire-escape. Window, very dirty, looks 
out upon street. At back, on r., a large door 
which slides to r. When door is open, several 
girls can be seen working at machines, power 
propelled. Whirr of machinery is always heard 
when door slides to r. At back on l. is a small, 
square room shelved on three sides. Shelves 
extend to ceiling and hold a small stock of shoes 
in boxes, ready for shipping. Shelves are not 
quite full. Down c. stands a flat-top desk with 
a chair behind if. Desk has a few business ac- 
cessories on it, besides a telephone and a small 
bell, which when tapped sounds like a telephone 
ringing. A long table extends from stock room, 
up L., to down r. Table is made of cheapest 
7. 



8 "IN WALKED JIMMY" 

hoards, unpainted. On it are various boxes, 
piled high in groups, ready to he wrapped up 
and sent away. Each group of boxes is al- 
ready tied with string and is tagged with bright 
red tag, eight inches long. Door down l. is en- 
trance to the factory. Along well at l. stand 
cartons (pasteboard cases) in which shoes are 
shipped. Go-carts of trays of shoes ready to 
be put into boxes, stand beside table. Shoes are 
of all colors and each shoe is a baby shoe. 
Chairs stand here and there around room. One 
or two chairs hold a shipment. Each box used 
in factory is sized four by seven inches. Scraps 
of leather on floor. The factory has seen bet- 
ter days. For some time, its output has been 
gradually decreasing until now it is in its last 
struggling stage. There is every evidence that 
goods are being manufactured but the impres- 
sion conveyed is they are not being manufac- 
tured right. 

CURTAIN RISES 

Andy. (An old negro man-of-all-work is clean- 
ing up room; does practical work; rubs desk; makes 
mark on it; tries to wipe off the water spot. He 
registers consternation. Lightning — thunder) Mr. 
Trellavan should hev real wood. Den dat water 
wouldn't leave no mark, I reckon. (Works toward 
window; goes about his work, dusting off boxes, 
etc., in a very superficial manner) 

('Bobby Day, a chap of twenty-two, enters l. j 

Bobby. (Has a worn look on his face; never 
smiles; lacks initiation; poorly clothed) Morning, 
Andy 1 



"IN WALKED JIMMY'* 9 

Andy. Goin' to rain ag'in, is it ? 

Bobby. Looks like it, yes! (Takes off his coat; 
hangs it on peg at end of table; takes from peg at 
other end of table a much older coat; shakes it out, 
puts coat on; begins to work, wrapping up groups 
of boxes on shipping table. Makes grouchy face; 
works with languor) 

Andy. Fo' de love o' Moses, ain't it been rainin' ? 
Las' night, it sho did spill some. Ain't seen de sun 
fo' days. 

Bobby. What's the difference? Whether one 
looks at raindrops or dewdrops — it's all the same. 

Andy. Lor', Mr. Bobby, yo' suttenly am cheer- 
ful! 

CKiTTY Blake, a pretty girt of twenty-two, enters 
L. She is cheaply dressed in a plain, but attrac- 
tive gingham dress. There is a tired expression 
in her face; a lack of animation in her walk; 
no spirit of cheerfulness in her voice. She ap- 
pears to be resigned to life — and what it may 
bring to her) 

Kitty. (As she enters, there is no smile from 
her) Morning, Bobby, Andy! (Crosses to R. 
Takes off her hat; hangs it on nail above her desk; 
opens top of desk; takes out ink, ledgers, etc. Also 
small mirror which she hangs at r. of desk. Turns 
to Bobby as she sits at her desk) What about that 
Moss-Gray order to go to Walla Walla, Washing- 
ton? 

Bobby. I filled it out of stock, checked it up, tied 
It up; now, I'm going to wrap it up, put the label 
on it, stand it over there — (Points to L.j— for the 
expressman ; let him sign for it and away it goes ! 

Kitty. I worried half the night about that or- 
der. I knew no bill had been made out for it and I 



10 "IN WALKED JIMMY" 

thought the order had been sent. We can't afford 
to let goods go out without charging them up. 

(READY CRASH— READY LIGHTNING) 

Bobby. Do you get paid extra for worrying? 
You do it all the time. 

Kitty. Did that St. Paul shipment go ? (Work- 
ing at ledger. Andy is working at hack) 

Bobby. Yes. (Sighs. Having wrapped up one 
shipment and labelled it, he puts it on floor at L. 
Begins on another) Same old thing every day. 
Gee, it's fierce! 

Kitty. Mr. John hasn't come down yet, has he ? 

Bobby. No ! If "I" came down later, he'd "fire" 
me— P.D.Q. ! ! 

Andy. (Back of desk) Lor' bless his soul, Mr. 
Trellavan's a fine man, sho is ! He gibs me a quar- 
ter ebery week. Den I done gone an' spoilt his 
desk. 

Bobby. He's liberal. 

Andy. Sho is. He helps me an* m* oV lady. 

Bobby. And children. 

Andy. (Seriously; vehemently) I ain't got no 
CHIL'REN— JUS' ONE SON !l ! (Pause. They 
all work in silence. It becomes darker and darker, 
outside. A spirit of pessimism prevails) 

Andy. It sho am goin' to rain. 

Kitty. Andy, I must ask you to keep quiet. 
You disturb me. 

Andy. I reckon I'll keep quiet soon enough. 
Missy. I'se purty ol'. 

Bobby. You shouldn't feel bad about that. 
You'll be resting peacefully before long while we — 
we'll be here ALIVE— and WORKING FOR A 
LIVING! 

Kitty. (Looks at letter in her hand; shows it to 



"IN WALKED JIMMY" ii 

Andy J Andy, go to the express office and see about 
this shipment. 

Andy. Yessum. (As he crosses to l., he mut- 
ters to himself) You know, dat son o' mine 

(Shakes his head worriedly, as he exits l.J 

fMiss Rogers, a woman of^ thirty- five, enters l. 
She is tall, angular, decidedly eccentric in her 
mannerisms and speech. She wears a woe- 
begone expression, as though she had lost every- 
thing that, and everybody zvhom, she had ever 
loved. She is bitter, gossipy) 

Miss Rogers. (Crosses to c, hurriedly) Have 
you two heard the latest ? Scandalous, isn't it ? 

Kitty. (Seriously) You mean about this fac- 
tory? 

Miss Rogers. Yes. (She crosses to r., takes off 
her hat, goes to Kitty's mirror, puts dab of powder 
on her face; then, anxiously) My mother's sister's 
cousin heard Mr. Bartlett tell Mr. Somebody else 
down in Rochester that Mr. Trellavan had not paid 
a certain bill that's overdue four months. And Mr. 
Bartlett said he was going to send the Cinderella 
Factory into bankruptcy ! 

Bobby. Who's Mr. Bartlett? 

Miss Rogers. I don't know anything about the 
man— but his leathers have a FINE REPUTA- 
TION. 

Kitty. If only Mr. Trellavan would advertise — 
like Mr. Bartlett does. 

Miss Rogers. Bartlett's wise. He knows ad- 
vertising's nothing but bait for suckers to bite on. 
Oh, well, I'd better go about my work. ("Miss 
Rogers walks to back; stops at window) It's going 
to rain again. Oh, well, as long as one MUST 
LIVE, one may just as well make the best of it. 
(Says this very gloomily) 



12 "IN WALKED JIMMY" 

Bobby. Going to take a vacation this year. Miss 
Rogers ? 

Miss Rogers. What's the use? It's just as hot 
in the city as in this town. 

Bobby. Thought you were going to the seashore. 

Miss Rogers. One gets so FRECKLED there. 
And that's one thing men can't stand for — freckles ! 
(She exits hack, as she puts on her apron) 

Kitty. I Hke her. She has such a PLEASANT 
disposition. (No smile from anyone so far) 

(Enter at l. Arnold Baker, twenty-three, dressed 
up to the minute in fashion; supercilious; shal- 
low) 

Bobby. Yes, she has— NOT ! (Exits L.) 

Arnold. Has my uncle come in yet? 

Kitty. No, Mr. Arnold. 

Arnold. Know anything about a telegram he 
sent to my sister, Kitty ? (Crosses to r. ; smiles at 
her impertinently) 

Kitty. "Miss" Kitty, please, Mr. Arnold. (He 
crosses to John Trellavan's desk; sits on it; rolls 
cigarette) Your sample case is back of the ship- 
ping table. 

(Enter l. John Trellavan, an old man of sixty- 
five; the owner of the factory. As such, he 
presents a poor appearance; his clothes sag, his 
shoulders droop. However, he gives evidence 
of being well-educated. His voice is soft, his 
manners gentle. He is honest, hard-zvorking, 
sadly contemplative. Competition has been too 
keen for him-. He knows he is drowning in the 
Sea of Commercialism. He is ready to give up, 
to admit he is a failure) 

John. Good morning. I'm a little late to-day. 
You're early. Miss Kitty. (He crosses to his desk. 



"IN WALKED JIMMY" 13 

Mail man enters l, leaves a stack of mail. John 
begins to open letters) 

Kitty. I have much work to do. All the state- 
ments for the month have not been mailed. 

Arnold. (Takes a few steps from desk; watches 
John open letters) Is it true, Uncle, Phyllis is com- 
ing home ? 

John. T sent for her yesterday. She will be 
home to-day. (Continues glancing over mail. 
Bobby exits hack zmth empty go-cart. Kitty is 
zvorking fast) 

Arnold. Then what I heard is true? 

John. What was that? 

Arnold. As I was passing Jones's Undertaking 
Parlors, I heard Mr. Jones, who was standing on 
his front step, say, ''Something's wrong with Trel- 
lavan. Better find out what's the trouble. He's 
looking worse every day." 

John. (Looks up from his letters) He said 
THAT? To whom? 

Arnold. Our family physician. 

John. (Fingering letters nervously) A good 
combination — the family physician and the under- 
taker ! (He takes up one letter; looks it over with 
a haunting fear in his eyes) 

Arnold. What's wrong, Unc? 

John. Everything. Listen to this. (Reads let- 
ter) "The Cinderella Co., Gentlemen :— We regret 
we must remind you the enclosed bill is^ ninety days 
overdue. We have written you several times regard- 
ing this item and your inattention to this forces us 
to use more stringent methods. Our Mr. J. Bartlett 
will call upon you and unless satisfactory arrange- 
ments can be made, we will place your account in 
the hands of our attorneys for collection. Yours 
very truly, Bartlett and Company." 

Arnold. We may not like the language they use 



14 "IN WALKED JIMMY" 

— ^but we can't find fault with their grammar, Unc. 

John. This has been a dull season. Our bills 
have been large. We're behind — I know that — but 
we could pull through if — if Bartlett wouldn't press 
us 

Arnold. Why don't you go over to Rochester 
and tell them you're ready to go broke, but if they'll 
come to the rescue, maybe the ship will not sink! 
(Sitting on edge of shipping table, smoking a cigar- 
ette) 

John. (Stares at Arnold, astonished at his 
stupidity) I need not only extension of credit. I 
need leathers — stock — I must have both to continue 
business. 

Arnold. You have never seen Bartlett or Gra- 
ham, have you? 

John. I do all my business with them through 
the mails. 

Kitty. (Rises; crosses to John's desk, down c.) 
We have $22,000 on our books — all of which is 
nearly due. 

(READY LIGHTNING— THUNDER) 

John. But we owe (He buries his face in 

his hands) It's over f Arnold comes c. ; puffs 

at cigarette. John looks up at him) My boy, I'm 
afraid I will not live to see my ambition fulfilled. 
Your mother and I used to build childish castles, 
and now — I promised her I would leave you and 
Phyllis well provided for — but — she's gone — your 

father's gone — and my hopes are (Tries to 

conquer himself) 

Kitty. Mr. John, I have $200 in the bank. If 
you think that would help you 

John. Thank you, Miss Kitty. No! (Begins 
to write; pause) I want you to take this check. 
Then go out and look for another position, f John 
rises; hands Kitty the check. She refuses it. 



"IN WALKED JIMMY" 15 

John crosses to Kitty's desk; puts check upon it; 
crosses back to his desk at c.) 

Arnold. What's the use of trying her luck with 
another factory? It's just as liable to go bankrupt 
as this one. ("John is sitting at his desk, writing) 

John. A letter of recommendation 

{^Miss Rogers enters hack, with lead pencils stick- 
ing in her hair and a hunch of tags in her hand: 
she is very husinesslike in her attitude) 

Miss Rogers. Mr. John, our leather stock is run- 
ning very low. (It is so dark now that John is 
ohliged to turn on the lights. From where she 
stands, Miss Rogers can see out of the window. 
Thunder! Miss Rogers glances out of window just 
when a flash of lightning plays vividly around the 
fire-escape. Miss Rogers moves away from win- 
dow, frightened comically) I just hate lightning. 
A cousin of an uncle of my mother was KILLED 
by it. 

John. (Sitting at his desk, writing) How low 
are we on leathers ? 

Miss Rogers. We are all out of everything but 
—THE BLUES ! 

John. No blacks, no whites — Miss Rogers, 
here's a letter of recommendation and — a check! 
(Gives her hoth; for a moment she appears sur- 
prised) 

Miss Rogers. I am fired? 

John. You understand. Miss Rogers, we can't 
go on manufacturing without goods — and 

Miss Rogers. I understand (Exits at 

hack) 

Arnold. I suppose it's up to me to look for 
something to do — just as I was beginning to be a 
success. ("Kitty exits at hack) 



i6 "IN WALKED JIMMY" 

John. Did you say SUCCESS? (Very sur- 
prised) 

Arnold. (^John sits silent. Arnold puffs away, 
poise fully) Sure! I've been doing lots of thinking 
the past four months. 

John. I'm glad to know you did something. 
You didn't sell any shoes. 

Arnold. Oh, I made friends all along the line. 
(Sits on Kitty's chair at r.) 

John. You advertised clear Havanas all along 
the line. Your cigar bill last month amounted 
to 

Arnold. (Interrupts enthusiastically) Did I 
tell you what Conroy said to me yesterday? He 
owns the largest store in Buffalo. He said, "I like 
you and if I need any shoes the next time you come 
around, I may place an order with you." How's 
that? 

John. He likes the brand of cigars you 
give away. How many did it cost you to hear 
that? 

Arnold. That's encouragement. 

John. He's been telling you that every week for 
four months. 

Arnold. He's not the only one. No less than 
fifty men PROMISED me business. 

John. That's all you got — promises ! If you 
could have traded in those fifty promises for FIVE 
ORDERS 

Arnold. You couldn't expect me to come from 
college and enter business life as though I'd had ex- 
perience. Football and selling baby shoes are two 
entirely DIFFERENT GAMES. 

John. I know that, Arnold. 

Arnold. I tell you a man's up against a pretty 
stiff proposition trying to make a buyer believe every 
baby living wears shoes. With all this eugenic stuff 



"IN WALKED JIMMY" 17 

coming in so strong, women are letting their babies 
go barefooted. It's healthier and CHEAPER. 

John. Did you give an argument like that to 
your customers? 

Arnold. I burnt the candle at both ends. One 
month I argue about everything BUT shoes. The 
next month, I argued nothing but shoes. One mo- 
ment, I was a regular good fellow ; the next, a sales- 
man. 

John. The first principle of the art of salesman- 
ship is understanding human nature. 

Arnold. You told me to cater to a man's whims 
and I'd sell him goods. You said, "Find his weak 
spot ; play to it." I followed your advice. I said 
to old man Johnson, down in Syracuse, *T wish you 
could have a drink on me." And what did he do? 
He kicked me out of his store. (Both men are seri- 
ous; no smile) He's the only man I met in four 
months who didn't tell me I'm a live wire with the 
spark of success, at the other end. 

John. He doesn't smoke, does he? 

Arnold. No ! (Pause. Arnold rises. John 
is very worried) Uncle, I never liked selling shoes. 

John. How do you know? You never sold any. 

Arnold. I always wanted to be something big- 
ger than a shoe salesman. I'd like to be a million- 
aire — and if I can't be that — a politician for me! 

(Enter Andy, at L.J 

Andy. Dere's a shipment down to de depot. 
Won't gib it to me. Saiys, express am collect. 

John. Arnold, will you attend to it? 

Arnold. There must be something wrong with 
the way you manufacture. Nearly every shipment 
that goes out comes back. (Takes up his hat; exits 
to L.) Oh, Unc, after I've been to the depot, you 



i8 "IN WALKED JIMMY" 

won't mind if I pitch right in and land a $3,000 per 
year job? 

John. You have my blessing. 

Arnold. Good-bye, Unc. Now don't you worry 
about me. (Exits l. John rises; sees Andy; gives 
him a coin) 

John. I will not need you after to-day, 
Andy. 

Andy. Suh 

John. I will not need you after to-day. 

Andy. (Frightened) Ain't I done m' dooty by 
yo'? Ain't I done got all your boxes an' packages 
fo' de las' 

John. Yes, Andy. 

Andy. Ain't I always cleaned your windows, 
suh? (Turns coin over and over) Goin' away, 
suh? 

John. (As a new thought comes to him) Per- 
haps! 

Andy. Far away, suh? 

John. Yes. The longest journey I've ever 
undertaken — the journey that knows — no 
end! 

Andy. Reckon, suh, you'll need a valet? 

John. No ! 

(READY PHONE) 

Andy. I'm powerful glad I cleaned up fo' yo'. 
(^KiTTY enters. Crosses to her desk at R.J Yo' 
won't find a speck o' dirt nowhere. I cleaned up 
dis place jus' lak I did de las' house I work at. 
Lor', how I cleaned fo' dat funeral. Yo' could tell 
by de dirt in de cracks der war no ceremony in dat 
house fo' YEARS ! TJohn digs in his pocket; gives 
another coin to AndyJ Lor' bless yo' soul — and 
KEEP— IT— WHITE-~suh ! 



"IN WALKED JIMMY" 19 

CAndy exits back. Bobby enters back, wheeling 
go-cart with trays of shoes. Pause. John sits 
thinking) 

John. Miss Kitty, will you call up Graham & 
Co., Rochester, please? (He begins to file away 
some letters as Kitty comes to his desk to use 
phone) 

Kitty. (At c, by John's desk; speaks into 
mouthpiece) Long distance . . . Rochester, please 
. . . (^John, worried and lifeless, sits the figure of 
abject woe. He stops filing azvay his letters. Bobby 
begins to pack shoes. It is raining outside) . . . 
Graham and Company, please. . . . 

(Expressman enters l. Bobby gives him six pack- 
ages; expressman signs for them; exits l.) 

John. (To Kitty j Mr. Bartlett is coming here 
to-day. 

Kitty. (Into phone) Graham and Company? 
. . . Hold the wire. . . . What? (To John; 
Which Mr. Graham do you want to speak to ? 

John. The little fat one. 

Kitty. (Into phone) Hello . . . Yes . . . The 
small, stout gentleman . . . What? . . . Wait a 
moment. . . . (To JohnJ Has he light or dark 
hair? There are TWO little fat Mr. Grahams. 

John. He's bald. (Very seriously) 

Kitty. I want to speak to the sm.all, stout gen- 
tleman with the least amount of hair. . . . Hello. 
. . . What? . . . Hold the wire. . . . ("John picks 
up phone, Kitty crosses to her desk; goes to work) 

John. This is John Trellavan talking, Mr. Gra- 
ham. . . . Yes, I received your letter this morning. 
... I should like to have you come to see me. . . . 
It was your intention, eh? . . . Immediately. . . . 
Good-bye. . . . (Hangs up receiver. A groan es- 



20 "IN WALKED JIMMY" 

capes from him; he sits with his head in his hands. 
Telephone rings. John pays no attention to it, 
Kitty answers phone) 

Kitty. (Into phone) Hello. . . . Yes. . . . (To 
John j Telephone, Mr. John. ("Kitty taps John's 
shoulder in an effort to awaken him to his duties. 
John looks up blankly) Telephone. ("Kitty gives 
phone to John J 

John. Hello. . , . Who? . . . Mr. Higgins? . . . 
(Consternation registers on John's face) Just ar- 
rived ? . . . What ? . . . Coming to see me ? . . . Very 
well. (Hangs up receiver. To Kitty j Higgins 
just got back to town. He's coming right up. 

Kitty. Looks like you're giving a reception, Mr. 
John. 

John. Yes. A twenty-cent-on-the-dollar recep- 
tion. ("Bobby has packed pairs of shoes in boxes; 
places them on shelf. John exits back) 

Bobby. Wonder what's the matter with the boss ? 

Kitty. I don't want to be wishing myself too 
much, Bobby, but I would like to see you ONCE — 
vv^hen you're not talking. 

Bobby. Say, Kit, what's the matter? IN 
LOVE? 

Kitty. No ! 

Bobby. YouVe not as romantic as I am, are you ? 

Kitty. I can't be romantic by myself, can I? 
(With a tinge of sentiment, but without a smile) 
I might be — if the right man came along. ("Bobby 
has stopped working; hears someone coming; gets 
back to work with a vim. and dash, as Miss Rogers 
enters back, zvearing her hat) 

Miss Rogers. Still working? My mother's sis- 
ter used to say, "A dollar in the hand is sometimes 
worth more than five hundred on a piece of paper." 
I'm off to cash my check. Oh, have you heard the 
news? 



"IN WALKED JIMMY" 21 

Bobby. About the hold-up? 

Miss Rogers. I knew somebody would beat me 
to it. (Vindictively, to Bobby^ Some people have 
such a mean disposition ! 

Kitty. What is it? I haven't heard 

Bobby. The train was held up last night ■ 

Miss Rogers. No, it was early this morning-. 
Think of it — a hold-up — just like the ones in the 
movies! Three men held up the train at DeviFs 
Curve and tried to rob the express cars, but the 
crew and some of the passengers frightened them 
off 

Bobby. They're sure to be caught for the of- 
ficers have a good description of them and 

Miss Rogers. Two of them went north and were 
seen distinctly ; one, a tall, red-faced man, and the 
other, short and stout. But the third man disap- 
peared completely. No one knows anything about 

him, except that he wore (Describe Jimmy's 

clothing in Act I) Isn't it the limit? Well, my 
mother's aunt's cousin used to say, "If there were 
no crimes in the world, there could not be any news- 
papers." (Exits into stock room) 

CAndy enters with telegram) 

Bobby. What's wrong now? 

Andy. Telegram fo' de boss. 

Kitty. I'll take it. 

Andy. De Lor' only knows what's goin' to come 
o' dis nigger. You know, Mr. Bobby, dat son o' 
mine 

Bobby. Don't tell it to me. I've got troubles of 
my own. (Exits L.J 

Andy. Trouble? Seems like I'm ol' man 
Trouble's only son. (Exits hack. Telephone rings. 
Kitty answers it) 



22 "IN WALKED JIMMY" 

Kitty. Cinderella Factory. . . . Who? . . . The 
First National Bank. I'll tell Mr. Trellavan. (Ex- 
its back) 

("John enters back) 
(LIGHTNING! THUNDER! RAIN!) 

John. (Takes up receiver; talks into phone) 
Hello. . . . Mr. Harper. ... I know it, but if you 
would only give me a little time . . . Yes, I know, 
it's overdue, but my collections are slow and for 
God's sake, don't do that, Mr. Harper, you'll force 

me into bank Hello! Hello! . . . (He hangs 

up the receiver; then says, half to himself) It's no 

use rjoHN sees the telegram on his desk; opens 

it; reads) "Countermand entire order given your 
salesman March 13th." Puts telegram down; pause; 
he opens his desk drawer; takes from it a revolver; 
he sees that it is loaded; looks at it a moment; puts 
it down; walks over to his safe; opens it; takes out 
a few papers; reads) "Metropolitan Insurance Co. 
In favor of Phyllis Baker, the sum of ten thousand 

dollars (Stops; puts papers back in safe. 

Comes back to his desk. Stands there a moment. 
Looks at revolver; picks it up, slowly, carefully in 
his right hand, as though he were contemplating 
shooting himself. Very, very slowly, he raises re- 
volver to his temple. Stage is now darkened. Light 
on ivindow, shozmng the rain coming down in tor- 
rents. Light on John's face) 

Jimmy. (Off stage in a low and mysterious 
tone) Wait a minute! What's your hurry? 
("Jimmy enters left. He is a young fellow of about 
twenty-eight or thirty ; well-dressed. A broad smile 
plays around his mouth and, when he speaks, there 
is a superiority about him that specializes him from 



"IN WALKED JIMMY" 23 

the townspeople. His voice is low and beautiful. 
His demeanor is that of a perfect gentleman. There 
is an infinite lightness, delicacy and finesse about 
Jimmy that are irresistibly contagious. He is, at 
once, a lovable man who is endowed with the 
strength of beauty and the beauty of strength. He 
wears a slouch hat, a blue Norfolk suit, a tan rain 
coat and tan shoes) Think it over — another day. 

John. (As his right hand is lowered; weakly) 
But 

Jimmy. (With much finesse, delivered with that 
unconquerable spirit of adventure) Oh, I know 
what I am — and I know what I've done — and it isn't 
the first time. I've helped people out of burning 
buildings. I've rescued them from the ocean's 
mighty grasp. I once clung to a raft with a foolish 
woman who thought she hated her husband. I've 
been under trolley cars saving babies for mothers 
about to be deprived of the love of their offspring. 
I've interrupted at least twenty men who were go- 
ing to Kingdom Come by the Revolver Route. And 
after I saved them, they were happy and lived pros- 
perously ever after. (Takes John's hands in his; 
shakes it hard) How do you do? My name 
is 

John. Who are you and what do you want here ? 
(Rises) 

Jimmy. I want a position. (Gesture of despair 
from John j I'm ready to do anything from clean- 
ing windows to cobbling shoes. If you urge me real 
hard, I might even be willing to scrub the floors. 
Yes, sir, I'm dead broke, before you ask me. I am 
dead broke — just like you ! 

John. (Surprised) What? 

Jimmy. Oh, don't tell me you're not. No man 
wants to kill himself for the fun of it. It's because 
life isn't easy sailing. The sun doesn't shine; it's 



24 "IN WALKED JIMMY" 

dark, and the coast is not clear. So he pulls a trig- 
ger and his tombstone is marked with one word, 
"COWARD" ! 

John. (Slowly, meditatively, he turns the revol- 
ver over and over; then he puts it on his desk; looks 
at Jimmy sternly) I have no position for you, at 
present. Good-day ! 

Jimmy. Good-day? I just came. And you — 
you haven't asked me to be seated. Please — even 
after what has happened, let me think of you as a — 
gentleman! (With infinite zest. He laughs) 

John. (As Jimmy sits c, John cries out, ex- 
plosively) Why did you come here? (Rain off) 

Jimmy. They couldn't give me a position down- 
stairs in the mahogany factory. And I'm deter- 
mined to remain in this building. I like it. The fire- 
escape attracts me. It's such a funny looking thing. 
Would you believe it, I've been all over the world — 
and I've never seen a fire-escape like it ! 

John. (Half -angrily) You're jesting! Why, 
man, you're laughing! 

Jimmy. Yes, sir. Don't you love laughter? I 
do ! It is one of God's choicest gifts. Ah, the tin- 
kle of a laugh — what is it — ^but the Spring Song in 
the heart of every man. (Very romantically ) 

John. (Sadly) When you're as old as I am 

Jimmy. I blew into this town at 6.45 this morn- 
ing, after dreaming all night of a miracle that's go- 
ing to happen to-day. 

John. Miracles don't happen in these days, my 
boy. 

Jimmy. God is just as good to His people to- 
day as He was 5,000 years ago. 

John. I wish I could think that. 

Jimmy. You can. All you need do is — SMILE! 
Before you know it you'll be laughing — and then 
you'll begin to think all kinds of good things. And 



"IN WALKED JIMMY" 25 " 

you'll end by saying, "Life is a mighty fine thing, 
after all!" 

John. (Wonderingly ; looks at Jimmy with a 
sort of awe) Of what creed are you, my boy? 

Jimmy. I have NO CREED ! That's why I am 
so full of RELIGION ! 

John. (Becoming nuore interested in Jimmy; 
draws his chair closer) May I inquire what your 
business is? 

Jimmy. Doing one big thing wherever I go. 
('John, amased, stares at Jimmyj Never heard of 
a business like that ? 

John. N — o — oh! 

Jimmy. My assets are health and wealth of 
body and mind and the dividends accruing from 
my business are the dividends of life, love and 
laughter, f John is impressed with Jimmy's keen 
sense of optimistic truths) 

John. Where do you hve? 

Jimmy. Wherever I am — at the moment. (^Jim- 
my's rollicking manner baffles John J What I am 
saying puzzles you. 

John. (Upstage, with his back to audience; 
wheels around suddenly) It does. How did you 
know it? 

Jimmy. (Sits c. with his back to JohnJ You 
wrinkled your brow. 

John. I did, but you couldn't see it. 

Jimmy. No, but I could FEEL it. The whole 
atmosphere was charged with doubt. 

John. (Comes forward, face *o face with 
JimmyJ When a man hopes, as I have, and then 
finds his ambitions frustrated, that, after all, he's 
a failure, — my boy, under such conditions, can a 
man keep from doubting? Before you came in, I 
asked myself, is life worth while. I'd even gotten 
to doubting THAT. 



26 "IN WALKED JIMMY" 

Jimmy. That's because you are tired. 

John. (Reminiscently. As speech progresses, he 
again becomes the fighting man, railing against a 
Fate that he thinks has kept him down) At eigh- 
teen, I started out to earn my own living. I've been 
at it ever since. Day by day, it's been the merciless 
grind that takes men's souls and tears them apart 
in the anguish of beating the other man in the game. 
It's been work — work every minute — work to beat 
the man around the corner — work to forge ahead 
of all competitors — work — work — WORK! 

Jimmy. (Rises. Crosses to John; faces him 
with both his hands on John's shoulders) One has 
only to look at you to know that you've been so 
eager to beat the other man, you've grown old for- 
getting to watch for the stars, to listen to the bab- 
bling of the brook — to smile, to sing, to laugh. 
That's what keeps one young, creates happiness, and 
makes one GREAT ! (Smiles) Will you give me 
a position ? 

John. (Smiles sadly) Position? Even if we 
were not about to make an assignment — I — I 
couldn't afford it. 

Jimmy. Then give me a job. It will be a couple 
dollars cheaper for you. 

John. Now you're laughing at me again. 

Jimmy. That's because I'm beginning to see my- 
self as manager of this factory. 

John. Manager? 

Jimmy. You can't keep a man down when his 
heart's happy and his soul is full of laughter. 

John. I dreamed, too, when I was your age. 
I saw only success. How I dreamed ! In wild ex- 
travagance of thought, I saw myself a Merchant 
Prince, owner of dozens of factories. Once I 

dreamed this would be my private office 

(Points to back stage) There I'd have five girls, 



"IN WALKED JIMMY" 2.7 

writing- out telephone orders, posting books, adver- 
tising to our accounts. Once it was my aim to have 
twenty THOUSAND accounts on my books. Once 
I thought the day would come when I could employ 
one girl to take charge of answering letters, refusing 
loans from the large banking institutions. Think of 
it. I had hoped we would be so big I wouldn't need 
to borrow money. 

(WHITES UP TO ONE-HALF) 

Jimmy. You're not the only person who has 
hoped that. 

John. My creditors are pressing me. I haven't 
the available cash — no collateral to borrow on. 
(Turns to window sadly) I expect my creditors 
any minute. 

f Bobby enters hack) 

Bobby. You're wanted in the cutting room, Mr. 
John. (He crosses to cutting table) 

John. (To Jimmy j Don't go, young man. I 
will not be long. (Starts to cross toward hack) 

Miss Rogers. (Enters hack) Oh, Mr. Trella- 
van, the lasts for that Utica order are 

John. Will you wait just a moment, please? I 
will not be long. (This to Jimmy. He exits hack) 

Bobby. (Aside to Miss RogersJ Bet he's one of 
our creditors. Which one? Graham or Bartlett? 

Miss Rogers. I'm a respectable woman. I don't 
know QUITE ALL the men who come to this town. 
('Bobby exits hack quickly) 

Jimmy. (Walks to c. ; smiles at Miss Rogers 
sweetly) Good morning, Miss 

Miss Rogers. (Fears someone may see her talk- 
ing to the stranger) In this town, it is not custom- 
ary to talk to a gentleman without the formality of 
an introduction. 



28 "IN WALKED JIMMY" 

Jimmy. Formality, dear Miss Smith, is the re- 
ligion of fools ! Wise men discard it. 

Miss Rogers. (Kittenish, and at the same time 
very interested in Jimmy j My name is Rogers — 
Delie Rogers ! 

Jimmy. (Bows, gentleman-like) Miss Rogers 
— delighted ! (Notices Miss Rogers is faintly smil- 
ing) Are you employed here ? 

Miss Rogers. Ever since I was a child. When 
I started to work, I was the little BLOND stenog- 
rapher that sat over there — in that corner. (Points 
lip R. NOTE: Now Miss Rogers' hair is raven 
black) 

Jimmy. You have held the position ever since? 

Miss Rogers. I was fired once, because I hked 
oranges too well. Ate six in one day. Mr. Trella- 
van said I wasted too much time "peeling" them. 

Jimmy. Who said that? 

Miss Rogers. Mr. Trellavan, the owner of this 
factory. But he took me back the following day — 
and made me his fore-lady, and now the business is 
going up the spout ! 

Jimmy. (As he gives the room a sweeping 
glance) So it's goodnight, eh? 

Miss Rogers. Yes, and I must look for another 
position. 

Jimmy. Let us hope it will be a permanent one 
this time. 

Miss Rogers. The nearest thing to a permanent 
position is marriage! And that's nothing but a 
matter of business, these days. Just like manufac- 
turing baby shoes, for instance. And competition 
in the game is getting awfully strong, f Jim my 
stares at her, surprised) You see, I've thought a 
great deal about marriage. 

Jimmy. (Casually) Sure, you have. Only two 
kinds of females don't think of it. Old maids, 'cause 



"IN WALKED JIMMY" 29 

they're out of the game — and infants, 'cause they're 
not yet in it. (Laughs. Bobby enters hack, with 
go-cart of shoes; places go-cart near shipping 
table) 

Bobby. Say, Miss Rogers, the Boss wants to see 
you. (He exits hack) 

Miss Rogers. (Has heen eyeing Jimmy keenly) 
I live two doors to the EAST of Jones's Undertak- 
ing Parlors on Main Street. If you should become 
lonesome while here, come to see me. 

Jimmy. I shall remember your kind words ! 

Miss Rogers. (Keeps coming up hack) You 
understand, there'll be no sentiment attached to your 
visit. As my mother used to say, "Life's just one 
business deal after another." Remember, two doors 
to the EAST of Jones's Undertaking Parlors. 

Jimmy. Ah, Miss Rogers, you're just beautiful 
when you smile like that. ("Miss Rogers laughs in 
emharrassment ; then exits hack in very good humor. 
While the smile business is going on between Miss 
Rogers and Jimmy, Bobby enters hack; watches 
them for a second) 

Bobby. Maybe the Boss has forgotten that 
you're waiting. Shall I call him, Mr. 

Jimmy. (Focusing his smile at Bobby with sig- 
nificance) Oh, I'm in no hurry. 

Bobby. No one ever is around here — except the 
people who come looking for their money. 

Jimmy. What's the matter, son? You look as 
though you're ill. 

Bobby. (Grouchy) Well, I'm NOT. I can't 
afford to be. ("Bobby looks at Jimmy in disgust. 
Jimmy smiles hack, expansively. Bobby's grouch 
disappears; he begins to look more amiable. Jimmy 
holds his smile. Bobby begins to weaken under the 
power of it — begins to grin a bit, then smiles. 
Jimmy laughs, Bobby exits, smiling, at back. For 



30 "IN WALKED JIMMY" 

a moment, Jimmy watches Bobby off ; then he takes 
from his pocket a railroad ticket) 

Jimmy. The unused portion of my railroad 
ticket. (Puts it hack in pocket. Sees revolver on 
John's desk; unloads it. Places revolver on desk; 
takes some money from his pocket; counts it) Four 
dollars and thirty-seven cents. (Gives evidence that 
is the extent of his finances. Smiles, as he jingles 
money in his hands. Kitty enters back) 

Kitty. Were you waiting for Mr. Trellavan? 
(^ Jim MY smiles at Kitty J I'm sorry if you've been 
kept waiting-, but Mr. Trellavan's very busy. 

Jimmy. Good ! Then he'll be in fine humor. 

Kitty. Mr. John is always in good humor. Fm 
sorry if you've had to wait very long, Mr. — Mr. 

Jimmy. Oh, that's all right. I have as much 
patience as Job. (Telephone rings. Kitty answers 
it) 

Kitty. Hello. . . . Yes, Mr. Perkins ... I 
told Mr. Trellavan what you said . . . that we're 
overdrawn . . . yes, about that note, too. (Sees 
Jimmy ; tries to correct herself ; cleverly) But that's 

impossible. . . . Yes, I'm coming down now 

(She turns her hack tozvards Jimmy; hangs up re- 
ceiver; talks as though she were speaking into 
phone. ]iMMY catches her at it) Of course, you're 
wrong. I deposited $2,000 yesterday — and 

Jimmy. Pardon me. (Crosses to shipping table; 
picks up his hat ; puts it on; then takes it off to her, 
with a bow, while Kitty stands, wondering what 
he means) You see, I want to take it off to you. 
You're the gamest little lady I've ever met. (A lit- 
tle sentiment creeps into his voice) You're the kind 
who can help a man. 

Kitty. (Softly, as she looks at him, a bit be- 
wildered) What do you mean by that? 

Jimmy. A glance to the observing is sufficient. 



''IN WALKED JIMMY" 31 

This factory is a dead one. And you — you're put- 
ting up a brave fight. 

Kitty. Oh, you're Mr. Bartlett! 

Jimmy. And you? 

Kitty. Kitty Blake, bookkeeper ! 

Jimmy. (Quickly) Miss or Mrs.? 

Kitty. Miss ! f Jimmy heaves a sigh of relief ; 
smiles; sighs again) Mr. Bartlett, if only you and 
Mr. Graham would let Mr. John down easy, every- 
thing would come out all right. We have $22,000 
on our books. It's true we can't lay our hands on 

that amount at once — but (Pause; she looks 

into his eyes, very seriously. Jimmv feels a grow- 
ing admiration for her surging within him) Mr. 
John's worked so hard. There hasn't been a night 
in five years that he hasn't been down here at his 
desk. His only aim in life is to leave his niece and 
nephew well off. He's old and hasn't many years 
to live. Won't you help him ? 

Jimmy. I can't — with abeent treatment. And he 
doesn't seem to want to see me. 

Kitty. (Pleads beautifully ; Jimmy smiles) If 
I could only reach your heart some way. f Jimmy 
smiles again) I want what I have said to make an 
impression. 

Jimmy. I assure you. Miss Blake, it HAS. 
CKiTTY exits to L. Jimmy stops her) How long 
have you been employed here ? 

Kitty. Four years. Making a living is a neces- 
sity with me. 

Jimmy. Your parents are 

Kitty. Perhaps you remember, Mr. Bartlett, 
when my father passed on. They called him "Hon- 
est Jack Blake." 

Jimmy. The man who saved a woman's life — 
and lost his own? The papers were full of it. I 
remember. 



32 "IN WALKED JIMMY" 

Kitty. My mother followed — 2l week later. 

Jimmy. You are alone? 

Kitty. I have a brother — a fine fellow — ^just 
eighteen. 

Jimmy. You have lived here all your life? 

Kitty. Yes, sir! In the little white house two 
doors to the WEST of Jones's Undertaking Par- 
lors. 

Jimmy. Is Jones's Undertaking Parlors the cen- 
ter of the town ? 

Kitty. Oh, I forgot, you never come here. 
(Turns towards back) I'll tell Mr. John you are 
here. 

Jimmy. Don't! ^Kitty stops) Not just yet. 
Do you know, I like you. I feel that we are going 
to be great friends. 

Kitty. (Aghast) Mr. Bartlett!!!! 

Jimmy. What's the matter? Did it hurt you to 
smile ? 

Kitty. You are married — and you have two 
children, f Jimmy laughs heartily. Kitty is very 
astonished; pause) You are NOT Mr. Bartlett? 
Who are you ? 

Jimmy. Suppose we say — Jimmy ! And I plead 
one discredit to the rest of my name. I have never 
been a husband. (^Kitty laughs) Miss Blake, you 
are just beautiful when you smile like that! 

(Enter John at back) 

John. (Crossing to down stage) Miss Kitty, 
will you check the invoice on the Foot form Com- 
pany's shipment. There's some mistake 

Jimmy. (To KittyJ Let's see, are you EAST 
or WEST? 

Kitty. East or West ? 

Jimmy. Of Jones's Undertaking Parlors? 
(Smiles at Kitty as she stands at back) 



'*IN WALKED JIMMY'* 33 

Kitty. (Laughingly) West! (She smiles at 
him, as she exits back, as Hiram Higgins enters l. 
He is a large, burly man, the type who lands a busi- 
ness deal in a business manner, without a touch of 
sentiment) 

Higgins. I want to talk to you, Trellavan. 

Here's a bill for you — and (His eyes glisten, 

as he crosses to John who seems to shrivel up at 
the sight of HigginsJ 

John. I'll pay you, Mr. Higgins. My — my book- 
keeper is out 

Higgins. Always an excuse, eh? If all my ten- 
ants were like you, I'd be in the poorhouse. 

John. You're a rich man, Mr. Higgins. You 
don't need the money. 

Higgins. (As he says the following, Jimmy 
takes off his coat to give the impression he is work- 
ing. Higgins flares a lease) This here lease calls 
for payment on the first of every month. Business 
is business! Qohn turns; sees Jimmy at his desk, 
pretending to be busy with some papers. Higgins 
crosses to dozvn r.J 

Jimmy. Won't you have a chair, Mr. Higgins? 

Higgins. Do I look so old I can't stand up, eh? 
I can sit down in my own building if I want to, and 
I don't need an invitation, neither! (Crosses to r. ; 
stands pulling out all his pockets, looking for some- 
thing) 

Jimmy. (To JohnJ Give me your lease. 

Higgins. (Finds a dirty, much-folded "FOR 
RENT" sign in his left pocket; walks to window 
with it; hangs up the sign so that it faces the street; 
laughs. NOTE: Be sure to let audience see the 
printing — For Rent — before hanging the sign in 
window) Te he he he! (Meantime, John crosses 
to safe; gets lease; gives it to Jimmy, who scans it 
carefully. Higgins turns to John; I'll give you 



34 "IN WALKED JIMMY" 

three days to get out of here and until to-night to 
pay me what's coming to me — or I'll get the Con- 
stable and (Sees Jimmy reading lease; pause; 

then begins:) There are other factories waiting for 
you and Mahogany to get out of my building. You 
bet, the next party to move in here pays DOUBLE 
what you're paying now. Yes siree! (His hand 
strikes table with a bang) 

Jimmy. (Offers him a cigar) Have a cigar? 

HiGGiNS. (Blustery) Don't you think I've got 
the money to buy my own cigars if I want them? 
Or do I look like a patient in a charity ward, eh? 
CHiGGiNS stands, eyeing the cigar; Jimmy pro- 
duces another; holds out both to HigginsJ 

Jimmy. Have some more. These are my favor- 
ite brand. 

HiGGiNS. (Grabs cigars; puts them in his pocket; 
to John J Who's he? 

John. He is 

Jimmy. (Smiles; bows, quickly) Your obedient 
servant, at all times, Mr. Higgins. (Assumes a 
very businesslike attitude) What!! A hundred 
dollars per month for THIS ! ! ! ! (As his eyes rove 
about the room, disdainfully. Then he lowers them 
and continues reading lease) 

Higgins. (Crosses to l.J I'm giving this loft 
away. I could have rented it THREE times yes- 
terday — and at my own price. (Pounds ^st on 
table) 

Jimmy. (Smiles in a complimentary spirit) 
Well, you're a wonder! 

Higgins. (Taken in by the flattery; chuckles 
gleefully) What's that? 

Jimmy. As an A No. I Bluffer, you're magnifi- 
cent! (Seriously) Your building's not worth 
much, but you're too smart to let others know it. 
To begin with, it's not fireproof. The loft's unsani- 



"IN WALKED JIMMY" 35 

tary. There's not enough light to the cubic foot. 

There should be three windows on that side 

(Points to rJ You have only one fire-escape and 
that's so out of style, it hasn't the resistance of a 
piece of junk from Noah's Ark. 

HiGGiNS. Look here, you young 

Jimmy. Don't get blasphemous. I stood at 
seven this morning, flirting with that escape. You 
needn't speak in its defense. I know its every secret. 
It celebrated its 20th birthday ten years ago. 

HiGGiNS. What ? 

Jimmy. Yes, sir, for real comedy, it has any- 
thing I've ever seen beaten to a frazzle. And for 
protection, don't let it fool you. It's a warning. 
"Don't cross the threshold ; there's danger within !" 
Come on! Get up to date, Mr. Higgins! Nowa- 
days, it's Safety First! (^Higgins becomes fright- 
ened at this truth. Jimmy senses Higgin's fear 
and he speaks in tones loud and significant) J. T. ! 
One hundred dollars a month for this rotten hole is 
thievery — thievery! (Sitting at John's desk with 
an air of superiority) Won't you sit down, Mr. 
Higgins? Have another cigar? f Higgins stands 
facing Jimmy j Tell me about the crops! Think 
the corn's going to be as sweet this year as it was 
last? 

Higgins. (Sharply) I came to talk business. 

Jimmy. A dash of sociability mixed in makes 
life a jolly gamble ! 

Higgins. (Irritably) I don't believe in gam- 
bling. 

Jimmy. Believe in it or not, the minute a man 
starts out to make a living, he's gambling on the 
strength of his ability against the faith he has in 
himself! (^Higgins makes a wry face; realizes 
Jimmy is clever. Jimmy rises; crosses to r. where 
John is standing, leaning on Kitty's desk; Jimmy 



2,6 "IN WALKED JIMMY" 

speaks to John in an undertone ; then turns to Hig- 
GiNS with great ceremony. Comedy effect here) 
Mr. Landlord, you've relieved us of much embar- 
rassment. WeVe been wondering just how to go 
about telling you we are going to move. This loft 
is—ah— TOO SMALL ! 

f Kitty enters back; crosses to her desk) 

HiGGiNS. Say, who in the Devil are you? 

Jimmy. Why, didn't you know that J. T. was 
to have a General Manager? 

HiGGiNS. ( Laughs incredulously ) Manager? 

Jimmy. There's nothing funny about that. 
Rockefeller has one. J. P. Morgan had one. 

HiGGiNS. Manager of WHAT? 

Jimmy. (Sweetly) The OTHER FACTORY! 

HiGGiNS. What other factory? 

Jimmy. (Feigns surprise) J. T., you don't mean 
to tell me the people in this town don't know you 
own another factory? (To Higgins, lightly) Re- 
member the tallest building in Newark? It's the 
Cinderella Building, with an American flag waving 
from it. (Turns to John, seriously) Is it one 
American flag or TWO we have waving from our 
tower ? 

Higgins. Rubbish ! 

Jimmy. (Holds lease in front of Higgin's eyes) 
This lease says if rent is not paid by the fifteenth of 
succeeding month, the lessor has the privilege of 
re-renting loft as lease becomes null and void. Our 
lease had three years yet to run — and WE 
WANTED TO BREAK IT— and we have broken 
it — and we're so happy — so happy — that if there 
was a brass band in the village, we'd hire it to play 
popular tunes while we move from this fire-trap. 
('Higgins stands aghast. Jimmy turns to Kitty J 



"IN WALKED JIMMY" 37 

Miss Kitty, will you make out a check for Mr. Hig- 
gins, please? ^Higgins turns to John, who stands 
smiling. Kitty at desk. John pretends to be look- 
ing over a ledger, as though very occupied) 

HiGGiNS. Well, ril be 

Jimmy. (To Higgins, as he points to JohnJ 
Isn't J. T. handsome when he smiles like that? 
("Higgins crosses to the door) What's your hurry? 
Mahogany won't run away. ("Jimmy pretends to 
write out something ) 

Higgins. How did you know I was going to 
Mahogany's ? 

Jimmy. (Laughs; shows Higgins the joke is on 
him) I didn't. You just told me ! 

Higgins. (Crosses to Jimmy J Guess you'll be 
telling me Mr. Mahogany'll be moving into YOUR 
building. 

Jimmy. No. You spared me that. 

Higgins. I saw him just before coming up here. 
He's going to renew his lease. 

Jimmy. What should he say — in order not to in- 
flict you further? You are suffering enough. 

Higgins. How do you know? 

Jimmy. From the way you're acting. ("Kitty 
crosses to c. Gives check to Jimmy, who is sitting 
at John's desk) 

Higgins. What's the proposition you made Ma- 
hogany ? 

Jimmy. Mahogany wouldn't last two months 
downstairs — if we were not up here. WE make 
this location desirable. 

Higgins. The Mahogany Company is ten times 
larger than this concern. (Looks around room. 
Crosses to back) 

Jimmy. (Taps small bell which is on desk. Bell 
sounds like a telephone ringing. Jimmy takes up 
the receiver of real telephone ; pretends to be talk- 



38 "IN WALKED JIMMY" 

mg to someone at the other end. This is done with 
great rapidity) Hello. . . . Yes. . . . Long distance? 
. . . Yes. I'll be in my office all day. (Hangs up 
receiver; turns to Kitty, who is now back at her 
desk) The freight agent of the New York Central 
wants to speak to me at noon. Make a note of that, 
Miss Kitty, so I DON'T FORGET. (^Higgins 
crosses to l. ; inspects the stock on shelves) Your 
check, Mr. Higgins ! (^Higgins crosses to c. ; about 
to take check. Jimmy looks at check for second; 
pulls it azvay from Higgins J Miss Kitty, you're 
getting careless. You spelled the word "hundred" 
wrong. Re-write the check. (^ Jim my tears up check 
as Higgins stands zvith outstretched hand) Before 
you do that, Miss Kitty, tell Bobby to come in here. 
He's entirely too slow. We have 236 orders to get 
out of here to-day. ("Kitty exits back. John 
glances over ledger, supposedly working; in reality, 
he is listening to Jimmy's every word. Higgins 
turns to L. Jimmy taps bell; takes up receiver; pre- 
tends to be talking to someone at the other end) 
Hello. . . . Yes. . . . ("Bobby enters back; looks 
surprised; John motions to Bobby that all is O. K. 
Jimmy to Bobby j Call Miss Kitty. ("Bobby exits 
back, hurriedly. Jimmy, into phone) . . . Hold the 
wire. (To Johnj Wanamaker's at the other end. 
("Kitty enters back, hurriedly) Miss Kitty, Wana- 
maker's want to give us a rush order. ("Kitty sits 
at phone. Jimmy zvinks at her knowingly) 

Kitty. Yes. (She pretends to be taking order. 
Higgins crosses to back. Jimmy stops him. The 
scene has now changed to one of much activity) 

Jimmy. No admittance there, Mr. Higgins. 

Higgins. This is MY building. 

Jimmy. And this is OUR factory. And you 
can't rummage through our business. Furthermore, 
you can have this loft to-night. We'll move to our 



"IN WALKED JIMMY" 39 

own building — and Mahogany will move, too. I'll 
give him his rent free. I'll do more than that. ,We 
have six stories over there. I'll get all the dinky 
little factories to move with us. I'll show you 
who's the largest factory around here. ^Kitty 
hands the supposed order to JimmyJ 

Kitty. (Into phone) Thank you. (Hangs up 
receiver) 

Jimmy. (Looks at order; smiles) Isn't that a 
pretty order? Four hundred dollars profit. Made 
just like that. (Snaps his fingers) 

Bobby. (Enters back; to Jimmy J What do you 
want me to do? 

Jimmy. In the best way vou know how, make a 
sign, reading "NO ADMITTANCE. THIS 
MEANS YOU." Hang it over that door. (Points 
to door at back) And get a wiggle on yourself. 
CHiGGiNS stands utterly confused. Jimmy again 
taps bell and calls himself up; into phone) No, the 
Manager is not in. (Hangs up receiver) Your 
check will be ready in a moment, Mr. Higgins. (To 
KittyJ Miss Kitty, take a dictation. fKiTTY sits 
at typewriter table; takes up small pad; writes) 
"J. P. Morgan & Co., Gentlemen: Enclosed find 
check No. 555666 for $23,000. This cancels note 
of two months ago at 4 per cent. Yours very 
truly." (With significance) Make out check for 
interest separately. 

HiGGiNS. (To himself) $23,000!!!!! (Turns 
to Jimmy; I'll see you later. 

Jimmy. Good day and Merry Christmas — 
though it's eight months off! f Higgins stands 
laughing) Mr. Higgins, you're just handsome 
when you smile like that ! ('Higgins exits l. Jimmy 
rises; crosses to John at r. It has become clearer 
outside) How do you like the system? Orders 
from Wanamaker's. Letter to Morgan. Telephone 



40 "IN WALKED JIMMY" 

message from the New York Central ? Ha, ha, ha ! 
(Laughs) 

John. (At r. of desk; with gravity) All he 
need do is — investigate — and 

(WARN CURTAIN) 

Jimmy. (Buoyantly) He'll be so busy telling 
everyone he meets about that new factory of ours, 
he will not have the time. 

(LIGHTS UP) 

John. And the result? 

Jimmy. ( Serio-comically ) I'm going to con- 
tinue playing this factory is just what you once 
dreamed it would be. And Tm going to play it so 
well all the people in this burg will be thinking we're 
larger than your wildest dreams could picture — if 
you will permit me! (Pause. John crosses to c, 
thoughtfully) Well, it's a dead cinch you can't lose 
MUCH. Let me, will you? (Pause, as John tries 
to decide) 

John. I know you can't make matters MUCH 
WORSE — and I like you, my boy. You stay! 
('John clasps Jimmy's hands with sincere cordial- 
ity) 

Jimmy. Good! I stay! (The sun floods in 
from window at R.J 

Kitty. (Cries out exultantly) The sun — the 
sun 

Jimmy. (In a tone that proves he is a disciple 
of right thinking) Ah — isn't the world beautiful 
when the sun SMILES LIKE THAT! TJohn, 
Kitty and Jimmy all face down r., the sun stream- 
ing in upon them, as THE CURTAIN QUICKLY 
FALLS) 



ACT II 

Scene and situation remain unchanged when cur- 
tain rises. 

John. (Looks at Jimmy with awe) This fac- 
tory has always been run on honest principles. I 
shouldn't want it to be run any other way. My 
motto is "Honesty is the best policy !" 

Jimmy. Yes, but haven't you been suffering 
from an overdose? 

John. Overdose? 

Jimmy. (Puts his arm around Johnj Apples 
are healthy but eat twenty — and what will happen? 
You'll need a physician. So does this factory. 

John. But my creditors ? 

Jimmy. That's the trouble — ^your creditors! 
You're looking at this business from their point of 
view. (Strong) How far do you think George 
Washington would have gotten, had he stood on 
his side of the Delaware, thinking how comfortable 
the Hessians were — on the other side? 

John. (Somewhat convinced ) You talk as 
though you mean what you're saying. 

Jimmy. Mean it? I can PROVE IT. 

John. How? 

Jimmy. To begin with, we're going to make 
everyone believe you're IT — I'm IT — this factory's 
IT — and no other company can manufacture up to 
our standard. We're going to boost this business 
up to the moon. Sounds bully, doesn't it? 

John, Yes, but can you do it? 
41 



42 "IN WALKED JIMMY" 

Jimmy. ANY man can do ANY thing if he 
thinks the RIGHT WAY! 

John. You know nothing about this business. 

Jimmy. All I need is a little common sense, a 
dash of shrewdness and a good voice, because I'm 
going to sing to everyone who comes my way the 
prettiest little tune you ever heard — "S-U-C- 
C-E-S-S — period." (Sings the s-u-c — etc. to the 
tune of ''do-re-mi-fa-so-la-se-do.'* Laughs) 

John. Now you're treating this as a joke. 

Jimmy. Because I'm smiling? I'm not like the 
raspberry eater who's so busy looking for the BUG 
he forgets the taste of the BERRY. 

John. If I knew who you are 

Jimmy. If you can't trust me, I don't want to 
stay. If you can, don't make me talk. I must save 
my arguing apparatus or I'll have laryngitis before 
the day's over. 

John. I said, my boy, you stay ! 

Jimmy. Good! Then I appoint myself your 
General Manager — and Physician. As Manager, I 
bid you good-day. As Physician, I advise a twenty- 
minute walk. You need fresh air in your lungs and 
head. Now, go down your main street. Smile at 
every one of your competitors. Remember, when 
a man's down and out and he smiles, he's suggest- 
ing to the other man that he's happy — and a man's 
never really happy unless he's successful. So think 
—THINK SUCCESS— SUCCESS— and smile— 
SMILE— SMILE! TJohn smiles gratefully) 
Keep it up. You're just handsome when you smile 
like that! fJoHN picks up his hat; smiles; exits l. 
Jimmy watches John out of room; then, to Kittyj 
There goes a man who's been so busy worrying he's 
starved his soul. ("Kitty looks up at Jimmy; 
smiles; Jimmy smiles hack. A gentle flirtation. 
Jimmy crosses to Kitty's desk) We must put a 



"IN WALKED JIMMY" 43 

big thing over — ^you and I! (They look into each 
other's eyes, the love-light dawning, as Bobby en- 
ters hack and begins to tack up the "NO ADMIT- 
TANCE: THIS MEANS YOU" sign on door at 
hack) 

Bobby. Gee, I can't print. 

Jimmy. (Crosses to desk; about to go to work) 
You're doing fine. 

Bobby. You haven't seen those signs I'm mak- 
ing. 

Jimmy. (Strong, as he fumbles with papers on 
desk) They're GREAT ! 

Bobby. (Puzzled) Gee, don't I wish I could 
feel like you do ! f Bobby stands regarding Jimmy 
with a silent and worshipful admiration) 

Jimmy. You have brains. Perhaps, one of these 
days, you'll be someone big — like Advertising Man- 
ager for the Cinderella Company. Hold the 
thought, Bobby — that you're going to be a big man ! 

Bobby. (His breath almost taken away) You're 
wonderful when you TALK LIKE THAT. 

Jimmy. And you'll be wonderful when you 
THINK LIKE THAT. Now run along and get 
me five desks, five chairs — and anything that will 
help make this place look alive. ('Bobby stands star- 
ing at Jimmy) Now hustle along and work as 
though the world's coming to an end to-night and 
you have a certain amount to finish. ('Bobby exits 
back, hurriedly. Kitty turns around slowly; sort 
of ''peeps'' to see what Jimmy is doing. Jimmy 
takes some money from his pocket; counts it; puts 
it on desk, when he discovers Kitty watching him) 
$4.37 — and that's all I have. (Smiles) 

KiTTTY. No ? Really ? 

Jimmy. The place looks like it's sick. (Glancing 
around room) 

Kitty. It is — financially. 



44 "IN WALKED JIMMY" 

Jimmy. Then we must give first aid to the in- 
jured. We must create a good impression. 

("Arnold enters l. Kitty comes from her chair) 

Kitty. Mr. Arnold, have you met our new — 
Manager ? 

Arnold. (Surprised; looks at Jimmy, quizzi^ 
cally) Manager? 

Jimmy. (Crosses to l. ; extends his hand; smiles) 
How do you do? The pleasure's all mine. (" Ar- 
nold is very unresponsive. Intuitively, he feels 
that Jimmy is a great power. He stands, regard- 
ing Jimmy with mingled fear and wonder) 

Kitty. Mr. Arnold ;s Mr. John's nephew. 

Jimmy. Delighted to know that. I'm fond of 
your uncle. (He gives Arnold's hand a squeeze 
which causes Arnold to wince) I wish I were not 
so busy. I'd like to chat with you. But just now 
there's much to be done around here. (Bows gra- 
ciously — takes papers from desk. Business of get- 
ting down to work) I'll see you again, Mr. Ar- 
nold. 

Arnold. My name is Baker. 

Jimmy. A thousand pardons, Mr. Baker. 
("Jimmy notices that Arnold has not smiled once. 
Arnold moves toward hack, wondering what Jim- 
my's presence in the factory means. Arnold 
scowls. Jimmy rises; sees Arnold's long-drawn 
face. Jimmy smiles) Ah, Mr. Baker, you're just 
handsome when you smile like that! ("Jimmy 
laughs; exits back) 

Arnold. (Quickly) What does this mean? A 
new manager? ("Kitty crosses to her desk; goes to 
work) Uncle told me he was going to close this 
factory. 

Kitty. It looked for a while as though someone 



"IN WALKED JIMMY" 45 

else were going to close this factory. But that's 
changed now and we intend to continue. 

Arnold. When did — (Points to door at hack 
through which Jimmy exited) — "he" come? 

Kitty. A little while ago. 

Arnold. From where? 

Kitty. I am not sure — but I think — from some- 
where near — Heaven ! (Smiles at Arnold mis- 
chievously) 

Arnold. (Crosses to r. ; stands close he side her) 
You seem to have changed. I haven't heard you 
joke for a long time. 

Kitty. I — I think I never was more serious. 

Arnold. Come down to earth, Kitty — Miss 
Kitty. Tell me, who is this stranger? 

Kitty. (With much sentiment) A gentleman 
— who has come to put us all on the right road! 

Arnold. (Pauses; surprised at what appears to 
he a romantic trend in Kitty's manner) What 
book have you been reading lately ? 

Kitty. (Resenting the remark) Please! You 
will do me a great favor by allowing me to finish 
what I am just beginning 

Arnold. And that is? 

Kitty. Trying to think the best of everyone. 
(She faces him squarely) 

Arnold. Now you're talking. Just at the psy- 
chological moment. I want you to think the best 
of me. (She turns toward her ledger; he leans to- 
ward her) I like you. The first day I saw you — 
about fourteen years ago, I was attracted. You 
were about six and I was eight. Remember, your 
hands were sticky with caramels — and — well, I liked 
you, caramels and all ! 

Kitty. Please, Mr. Arnold, I'm busy — and 

Arnold. (Closes her ledger; tries to take her 
hands in his; she draws them away) Now, you 



46 "IN WALKED JIMMY" 

never can tell what this attraction may lead to. I'm 
hoping marriage, ultimately. I want you to look at 
me — think of me — in the light of a prospective hus- 
band ! (Very seriously) 

Kitty. I've never given you any encouragement, 
Mr. Arnold. 

Arnold. Don't let that worry you. 

Kitty. But you don't understand — I — I don't 
know exactly how to explain without hurting you — 
but you don't appeal to me. 

Arnold. I won't ask you to marry me for quite 
a few years. In the meantime, don't let any other 
man come between us. (With quiet persistency) 

Kitty. Mr. Arnold, I'm afraid I must tell you — 
that now or five years from now, my opinion of you 
will be the same. 

Arnold. Then we can be married and you can 
fall in love after the ceremony. We needn't have 
ALL the excitement at once. 

Kitty. (Disgusted) Oh 

Arnold. (As he rolls a cigarette in his super- 
cilious and superficial attitude. Crosses to l. of c. 
desk) I know I'm not a millionaire, but I'm on the 
road to be one. I'm looking for a $3,000 per year 
job. 

Kitty. Don't you think you're wasting time, 
now? 

Arnold. A man never wastes his time telling 

the girl he loves (Sincerely) Kit, you'll look 

swell in purple. 

Kitty. (As she writes in her ledger) I hate 
purple. 

Arnold. Royalty wears it. 

Kitty. So do persons in second mourning. 
C Jim MY enters back, unobserved by either Kitty 
or Arnold; he is about to walk down c. 
when — ) 



"IN WALKED JIMMY" 47 

Arnold. I'll give you a limousine ^ f Jimmy 

stops; looks at Arnold; listens) 

Kitty. When I marry — (Crosses to desk with 
letter)— it will be for HOW MUCH I CAN GIVE 
A MAN— not for how much HE CAN GIVE ME. 
I won't be any man's doll to decorate. I won't use 
his superfluous cash to build up department stores. 
If there's any building up to be done, I'll begin at 
home— TO BUILD A FUTURE. It's a help-mate 
I'll be to a man — or nothing! ("Jimmy smiles con- 
tentedly) 

Arnold. Some talk! Don't spill that on the 
gentleman from Heaven. Ha ! Ha ! He might like 
it. Good-bye, Kit 

Kitty. Good-bye — and I trust you'll not speak 
of this again 

Arnold. Oh, I'll speak of it again — if I don't 
lose my voice. ("Arnold exits back, Jimmy walks 
to desk at c; sits) 

("Bobby enters back, carrying small table, which he 
places up R.j 

Bobby. Will this do for a desk, Mr. Jimmy? 
It's the best thing I can find around here. And 
I've got five of these. 

Jimmy. Good! Bring them in and be spry. 
Miss Kitty, your desk should be very close to mine. 
("Bobby rushes out at back. Kitty turns around; 
smiles at Jimmy. He smiles back. Keeping his 
eyes upon her, he opens all the desk drawers; takes 
out papers; places most of them on desk; scatters 
some blotters on floor; business of making the desk 
appear as though the person using it is a very busy 
and influential personage. Jimmy rises; crosses to 
R. ; places Kitty's desk close beside desk at c, as 
Bobby enters back with small table. Jimmy be- 
comes very businesslike. To Kitty j Will you go 



48 "IN WALKED JIMMY" 

down to Mahogany's and call up five of the prettiest 
girls you know? Tell them to come here, prepared 
to work, but to dress attractively. Be sure old man 
Mahogany heats every word you say. If he's lis- 
tening, pay the girls $15 per week. If he's not lis- 
tening, pay them eleven. (^ Kitty exits l. Bobby 
has by this time brought in five tables. He and 
Jimmy place three of them to the right of desk in 
c, at back, and two of them to the left. Jimmy 
takes dusting brush from under shipping table. Be- 
gins to dust boxes in stock room up l. Bobby be- 
gins to clean up. Pause as they zvork) Bobby, 
bring me the signs you have made. (^ Jim my picks 
up an old picture of George Washington; dusts it 
reverently; tacks if on zvall. Bobby crosses to back) 

Bobby. Sir? 

Jimmy. You have a brain, Bobby. Use it. 
(Smiles at Bobby j 

Bobby. I get you. (He exits, whistling ''The 
Star Spangled Banner.*' Jimmy jumps on ladder 
tip L. as Miss Rogers enters l., very much out of 
breath. She crosses to c. ; sees Jimmy on ladder) 

Miss Rogers. I didn't know you were still here. 
(Appears delighted to see him) 

Jimmy. Ah — welcome to our factory! (Deli- 
cately) I've been thinking of you. 

Miss Rogers. (Kittenish; as she sits R.J And 
I of you ! I've been looking for a position ever 
since I left here — and I can't find one ! 

Jimmy. (Coming down from ladder) What 
seems to be the trouble? (Continues making room 
more attractive by cleaning it up) 

Miss Rogers. My parents — mostly! If I'd had 
anything to say before I was born, I'd have picked 
out a father who wasn't a politician. I'd have 
looked out for less notoriety in the family — and 
more MONEY! 



"IN WALKED JIMMY" 49 

Jimmy. (Laughs) Don't let positions worry 
you any more. Mr. Trellavan has made me his 
manager — fMiss Rogers rises, aghast) — and as 
such, I shall exert my good judgment in the- behalf 
of so charming a lady as Miss Rogers. She shall 
rise to the dignified position of forelady of one of 
the largest factories in the country ! 

Miss Rogers. Well ! That sounds good to me. 
I'll take a chance ! (She is about to go to work 
when Jimmy stops her) 

Jimmy. Before you go to work, I'd like you to 
go across the street and buy a rug, not too large. I 
want a blind for that window — (Points to R.) — a 
gross of pens, twenty bottles of ink, twenty-five 
ledgers — ^big ones. And letter files, thirty of them — 
and ink wells — and a gross of lead pencils, some 
scratch pads AND some blank books — and charge 
everything to the factory. Oh, yes, I want a large 
roll of wrapping paper — the largest you can find. I 
don't care where you get it— but BRING IT RIGHT 
UP. Bring everything RIGHT UP! ^Miss Rog- 
ers looks amased. Jimmy goes back to stock room, 
where he continues dusting) And remember, Miss 
Rogers, I'm in a hurry for them. 

Miss Rogers. Forelady? It looks like I'm to 
be an express wagon. (Smiles; looks at Jimmy 
working) Oh, well, express wagons are SO use- 
ful ! (All this has been said half to herself. She 
exits L., as Kitty enters l. Kitty notices Miss 
Rogers smiling; looks after her; then turns to 

JiMMYJ 

Kitty. Your stenographers will be here immedi- 
ately. 

C Bobby enters back with some bunting; puts it on 
table; continues wrapping packages) 

Jimmy. How much? 



50 "IN WALKED JIMMY" 

Kitty. Twenty dollars a week. Both MR. and 
MRS. Mahogany were listening-. 

Jimmy. It's all right. Mahogany'll be advertis- 
ing it before long that our girls are the best paid in 
the town. 

Bobby. This office is beginning to look like some- 
thing. (^ Jim MY laughs) I only hope Mr. John 
won't have heart failure before he comes in. 

Jimmy. He'll have a change of scenery, eh, 
Bobby? 

Bobby. He'll think the dead have risen ! 

Jimmy. (Puts book on each desk) Bobby, why 
do you always talk about dead things? 

Bobby. Because they're the only things you can 
talk about — without getting into trouble. (He 
packs and wraps up packages) Cy Wetherby talked 
about Jim Simpkin's wife's beauty. Jim smashed 
Cy's nose. Cy smashed Jim's skull. Jim died and 
Cy's in the State Prison now. Guess the next time 
he talks about any woman, it'll be about that little 
Indian girl in front of Peter's cigar stand. She's 
MADE OF WOOD ! 

Kitty. (To Jimmy, as they straighten up the of- 
fice) Talking is Bobby's failing. 

Jimmy. (With a sweet smile) We are all so 
very human! (^Kitty crosses to her desk; takes a 
cleaning rag from it; begins to wipe the desk. For 
a second, Jimmy watches Kitty; wishes to be alone 
with her; wonders how he can get rid of BobbyJ 
Oh, Bobby, you better see that Miss Rogers gets 
back safely. She's buying out the department store 
across the street. (^Bobby changes his old coat for 
the better one; smiles to himself, as he realizes that 
Jimmy is becoming infatuated tvith Kitty. Bobby 
exits L. Jimmy crosses to where Kitty is stand- 
ing, rubbing her desk) May I help? 

Kitty. With pleasure. ("Jimmy takes other end 



"IN WALKED JIMMY" 51 

of rag; rubs desk vigorously ; Kitty also rubs her 
desk; and as they rub, they look not at what they 
are rubbing, but at each other. Both smile) 

Jimmy. Miss Kitty, you won't mind working for 
me, will you? (He pulls her toward him by grad- 
ually shortening the rag) 

Kitty. Fm very happy — ^because you have come 
here. 

Jimmy. That sounds like music to a — suffering- 
soul. 

Kitty. (Quietly, but somewhat surprised) You 
don't look ill. 

Jimmy. (Sighs romantically) Ah, but it's get- 
ting worse every minute. 

Kitty. (Seriously, as she begins to rub desk, ab- 
sent-mindedly) Indigestion? (She gradually 
lengthens rag and draws away from him) 

Jimmy. No — I don't seem to have the symp- 
toms. (Smiles at her lack of understanding) 

Kitty. (Innocently) Toothache? 

Jimmy. No! 

Kitty. Neuralgia ? 

Jimmy. (Points to his forehead; then to his 
heart; sadly) It's here — ^^and something around 
here. 

Kitty. Do you think it's serious ? 

Jimmy. It wouldn't be worth while if it weren't. 
(Looks at her, sweetly) Seriousness is the first step 
toward attainment! (Pause; she looks at him won- 
deringly and — awed!) 

Kitty. (With a far-away ring in her voice) I'm 
so sorry. One suffers terribly when any pain comes 
on so suddenly. (She is somewhat embarrassed ) 
We — we're forgetting our work. 

Jimmy. It is so sweet to forget, at times. 

Kitty. (Confused and yet delighted; takes rag; 
puts it in her desk) Isn't it strange how much fun 



52 "IN WALKED JIMMY" 

one can get out of so small a thing as a — cleaning 
rag! (For the first time, she hears the faint strains, 
as if out of the distance, of Mendelssohn's ''The 
Spring Song." She stands, quietly listening) 
What's that? (^Jimmy smiles; the music dies away. 
There is a rap on door at left. Two men enter, car- 
rying a stack of leathers. Jimmy directs them to 
put the skins on the floor; they do so; they exit l. 
Jimmy points to the leathers, laughingly ) This is a 
very big game you're playing. I hope it will suc- 
ceed. 

Jimmy. It will succeed. 

Kitty. It seems almost impossible to make some- 
thing out of nothing. 

Jimmy. Nothing is impossible to the man WHO 
TRIES ! 

Kitty. But— you seem so CERTAIN. 

Jimmy. RIGHT THINKING is the MOTHER 
of ACHIEVEMENT. It produces big results. 

Kitty. What if it shouldn't end as 

• Jimmy. (Interrupts) Sh! Isn't that the talk 
of the Quitter? 

Kitty. (Worriedly) But 

Jimmy. (With faith and hope) Henry Ward 
Beecher said, "In the economy of God's providence, 
every right and well-organized business is a benefi- 
cence, not a selfishness." 

Kitty. You have an honest twinkle in your eye, 
a note of sincerity in your voice. (Pause) And — 
I like you. 

Jimmy. To how many men have you told 
THAT? 

Kitty. To no one — ^but you ! 

(^Miss Rogers enters l., accompanied by Bobby. 
Both are loaded doivn with what Jimmy sent 
Miss Rogers for — hooks, a rug, a blind, etc. 



"IN WALKED JIMMY" 53 

Miss Rogers is a bit dilapidated looking. 
Jimmy is too occupied to notice. Kitty, busy 
at desk afR. Miss Rogers crosses to c, letting 
one thing fall on table, another on chair, etc.) 

Miss Rogers. (In a hard tone) If a compli- 
ment hadn't been paid me by one of our leading- 
citizens, I'd say a few things that would set the air 
in motion. (^ Jim my relieves Bobby of his load; 
then smiles at Miss Rogers. Bobby exits back. 
Miss Rogers' tone softens when Jimmy smiles at 
her) But it's awful when a woman has a heart 
that forgives — and when I look at you — (strangely, 
as though she cannot explain the emotions that 
Jimmy arouses within her) — I must forgive ! (Then, 
a bit harder) Some compliment ! 

Jimmy. May I relieve you of it? (He and 
Kitty use the articles to make the office appear 
more businesslike and more attractive) 

Miss Rogers. I passed our Postmaster. He 
was loaded down with mail. I — with these 

things (Points to things around room) He 

said I'm one of the few women who, if married, 
wouldn't be human excess baggage. (Into Kitty's 
ear) We're going to the Movies to-night! 
(Crosses to R. ; goes to mirror. Primps up) Am I 
to go back to my old position? 

Jimmy. Yes — unless the Postmaster gives you 
ANOTHER! f Jimmy and Kitty have, by this 
time, put rug on floor ; scattered ledgers and ink 
bottles on desks. Jimmy takes cobwebs from ceil- 
ing and with a broom scatters them on the rug in 
an effort to make rug appear somewhat time-worn. 
Continue business of making rug appear old. Miss 
Rogers turns to exit back as Bobby enters back 
ivith sign, zvhich he tacks on wall, thus blocking 
Miss Rogers' exit. She waits; stiffens up. When 



54 "IN WALKED JIMMY" 

Bobby is finished, he crosses to l. The sign can 
now he seen by Miss Rogers and audience. Miss 
Rogers reads aloud) 

Miss Rogers. *'He who seldom does more than 
his salary calls for has LITTLE salary to call for." 
(Shoots angry glance at Bobby, who stands con- 
vulsed with laughter) Well!!!! ("Miss Rogers 
throws her head back; exits back with the strut of 
an angry peacock. The office now presents an en- 
tirely different appearance) 

Jimmy. Bobby, put the blind at the window, 
f Bobby crosses to window at r. ; adjusts the blind. 
Five young ladies enter L.) 

Kitty. My friends. 

Jimmy. I welcome you. 

(READY PHONE) 

Kitty. (Introduces them; each bows as her 
name is spoken) Miss Grayson, Miss Long, Miss 
Brown, Miss Fairchild, Miss Hoyt. 

Jimmy. (Shakes hands with each girl) Ah, 
young ladies, you have transformed this room into 
a garden of American Beauties. (Smiles at each 
one, as he silently beckons each to take a place be- 
hind a desk. Each girl wears a plain dress of a 
bright color; neat garb such as one sees in the aver- 
age country town) Miss Kitty will advise each of 
you what to do. And I shall advise Miss Kitty. 
Now pay strict attention. (Points to girl at first 
desk; to Kitty J To this young lady, dictate a let- 
ter to be sent to five of the largest banking institu- 
tions in the country. Say we thank them for offer- 
ing us a loan of — of $25,000 at four per cent — ^but, 
at the present time, we are not in need of it. (^Kitty 
is seated at r. ; writes in shorthand as Jimmy dic- 
tates. Jimmy at c. desk points to second girl) 



"IN WALKED JIMMY" 55 

Give this young lady a list of A No. i accounts. 
Dictate to her a letter of thanks for orders received. 
Make letter one of great courtesy. 

Kitty. Yes. 

Jimmy. (Points to third girl) I want this young 
lady to look up Chicago and New York accounts. 
Make a list of them. Better get a Dun or a Brad- 
street and use only such concerns as are rated above 
five hundred thousand. Write letters to them re- 
gretting we can't make deliveries — AS WE ARE 
SO RUSHED— at this time of the year. (Points 
to fourth girl) This young lady will address the 
envelopes. (Points to fifth girl) This young lady 
will be our telephone department. (Business with 
the bell) Instruct her how to use MY TELE- 
PHONE INTELLIGENTLY. (Telephone rings, 
Kitty answers it) 

Kitty. Cinderella Factory. . . . Who? . . . Just 
a moment. (Turns to Jimmy in distress) Mr. 
Bartlett. He's our largest creditor. 

Jimmy. We'll fix him. (To first girl) You, 
Peach Blossom, answer the phone and say, "Cin- 
derella Factory. Department A." 

First Girl. (Crosses to phone; takes up re- 
ceiver. Kitty stands by desk) Cinderella Fac- 
tory. . . . Department A. . . . What ? 

Jimmy. (To Second Girlj You're Depart- 
ment B. 

First Girl. (At phone) Just a moment. . . . 

Jimmy. (To First Girl — Tell him you'll con- 
nect him with Department B. 

First Girl. (Into phone) The Manager is not 
in this department. . . . I'll connect you with De- 
partment B. 

Second Girl. (Steps to phone; talks into it. 
First Girl goes back to her desk) Department B, 
. . . Yes 



56 "IN WALKED JIMMY" 

Jimmy. (To Third Girl J You're Department 
C. (To Second Girl at phone) Connect him with 
Department C. 

Third Girl. (Takes up receiver ; Second Girl 
hack to her desk) Department C. 

Jimmy. (To Third Girl at phone) Against 
orders to receive messages. 

Third Girl at Phone. What? Can't take your 
message . . . against orders . . . Department B. 
didn't know that. . . What? . . . What floor am I 
on? 

Jimmy. (To Third Girl at phone) Make it 
sixth. 

Third Girl at Phone. Sixth floor. . . . 

Jimmy. (To Fourth Girl J You're the Central 
in the Annex. 

Third Girl at Phone. I'll connect you. . . . 

Fourth Girl at Phone. ^Third Girl goes 
hack to her desk) Hello. . . . Who do you want? 
. . . This is the Central in the Annex. . . . Yes, sir, 
this is the Cinderella Factory. 

Jimmy. (Calls to Fourth GirlJ ONE of them. 

Fourth Girl at Phone. One of them. . . . I'll 
connect you. 

Jimmy. (To Fifth Girlj You're in my pri- 
vate office. 

Fifth Girl at Phone. ("Fourth Girl goes 
hack to her desk) Private office. . . . Who? . . . No, 
sir. fJoHN enters l. ; sees the girls; registers sur- 
prise as he welcomes the change made since he left 
the office; he stands staring at girls; cannot helieve 
his ozvn eyes) Mr. Bartlett? . . . No, sir, but our 
Manager is here. 

Jimmy. (Walks to phone; talks into receiver) 
Hello. . . . What ? . . . Didn't know Mr. Trellavan 
had a Manager? . . . One does learn day by day. . . . 
What? . . . I'll be delighted to see you. . . . Good- 



"IN WALKED JIMMY" 57 

bye. (Hangs receiver up; Jimmy turns to Kitty j 
I'll bet Mr. Bartlett will have some respect for us 
when he walks in. 

John. (Crosses to Jimmy j My boy — I — I can't 
believe it. It's just like my dream come true. 
(^ Kitty and Girls at hack immediately get to work. 
Kitty instructs girl. John and Jimmy cross to r. j 

Over there — five girls fJoHN appears half 

dazed) 

Jimmy. (Puts his hands on John's shoulders 
affectionately) Tell me, how many of your com- 
petitors did you meet, and did you smile each 
time? 

John. One man stopped me and wanted to know 
if any of my wealthy relatives had died and left 
me a fortune. 

Jimmy. Good! You smiled! 

John. I went to the bank. I tried to fix matters. 
They won't extend the loan and the note is due 
next week. $4,000! 

Jimmy. You didn't smile. Next week is a long 
way oflF. 

John. Yes — when you don't owe anything. 

Jimmy. Didn't you tell me a little while ago 
to-night would see the end of the factory? 

John. (Smiles) I'm a little more optimistic 
now. 

Jimmy. God bless your little smile, J. T. Now 
listen! Before the end of the week you'll have 
$4,000 to your credit. 

John. You can't mean that? 

Jimmy. Sure. Money's like Optimism ! There's 
plenty around— if you KNOW HOW TO LOOK 
FOR IT! 

John. It sounds good ! 

Jimmy. Here's something that's going to sound 
better. Before I get through, eveiybody in this 



58 "IN WALKED JIMMY" 

town will be begging — BEGGING — to buy stock in 
this concern. Yes, sir, I'm going to show them 
we're so big and making so much money, they'll be 
begging to buy stock — begging! 

John. But we're not a corporation. 

Jimmy. Then we'll make it one. Everything will 
come out all right. (^John, too surprised for words, 
drops into a chair at R.J Don't worry. Only once 
I can remember when I was more amused. That 
was in China at a Joss House. I led in PRAYER! 

John. Yes — but what are you going to do now? 

Jimmy. When your creditors appear, presto, the 
tents are raised and the scene changes to one of 
circus activity. (Laughs; crosses to hack; sees that 
Kitty is instructing girls correctly, when Higgins 
enters l. Jimmy immediately acts as though he is 
head over heels in work. John rises. Girls ap- 
pear to work rapidly) J. T., what about that cable- 
gram, from London? (Scatters papers on desk, 
making them fly all over) Where did I — put it? 
Where did I — oh, yes (Looks up; sees Hig- 
gins standing in doorway) Ah, Mr. Higgins. Be 
seated. I'll be with you in a moment. I have 20,000 
circular letters to get out to-day and — have a cigar. 
('Higgins crosses to c. Jimmy offers him 
cigar) 

Higgins. (Smiles; accepts cigar) Thank you. 
Te he he he! (Looks around room; then, at Jimmy 
with a zvink; smiles broadly) 

Jimmy. Mr. Higgins, you're just handsome 
when you smile like that! (Higgins is flattered. 
Jimmy walks to desk, at c.) You came to see about 
our moving to-night 

Higgins. Looks like you're primped up here to 
to stay. 

Jimmy. Oh, no. I just had to bring our office 
force — from back there. (Points to hack) Now 



^*IN WALKED JIMMY" 59 

that we're about to go, we don't mind letting people 
see liow BIG we are ! 

HiGGiNS. I see! 

Jimmy. Seeing is believing, isn't it, Mr. Hig- 
gins. (Slyly) 

HiGGiNS. Yes, sir. That's what they say. 
CJoHN exits back) 

Jimmy. (As he pretends to work) Um — ^hum! 

HiGGiNS. I suppose you're going to put some 
money in this concern. 

Jimmy. (Looks at his desk; business zvith the 
money he placed there) Yes, sir. I've been think- 
ing of it. 

HiGGiNS. Yes. I suppose now you'd put in a — 
a good BIG SUM ! 

Jimmy. Mr. Higgins, I'm going to put into this 
concern every cent I have in the world. 

Higgins. Now, about the rent. If you think 
$ioo a month exorbitant, I'll go down a quarter and 
make it $75. 

Jimmy. No inducement. (Absorbed in work; 
does not look up) 

Higgins. I'd like to talk business with you when 
you have the time. 

Jimmy. Can't you call later? 

Higgins. (Crosses to l.J Old J. T. is going 
around smiling. No one's seen him smile in years. 

Jimmy. You've been looking the WRONG 
WAY. Better be careful or some one will say the 
same of you. 

Higgins. (With a wry face) I'll call again. 
(^ Jim MY smiles at him; Higgins frozims back. 
Jimmy keeps on smiling iintil Higgins breaks into 
a smile) 

Jimmy. Ah, Mr. Higgins, you're just handsome 
when you smile like that! (^Higgins exits l.) The 
wine of our success has gone to his head. Before 



6o "IN WALKED JIMMY" 

Vm through with him, he'll be intoxicated. (Phone 
rings. Kitty answers) 

Kitty. Hello. . . . Oh, how are you, Miss Phyl- 
lis? . . . Yes, he's here. I'll tell him at once. . . . 
He's here now. (As John enters back zmth Bobby^ 
It's Miss Phyllis. 

John. (At phone) Hello, Phyllis dear. . . . 
You don't say . . . that was exciting. . . . Yes, 
yes, dear, I'll be right over. . . . And smile, dear — 
keep smiling. (Hangs up receiver) Phyllis was on 
the train that was held up last night. Poor child, 
she was terribly frightened. I won't be gone 
long. (Exits hack. Jimmy looks at Kitty, 
smilingly) 

Bobby. There's a funny thing about those rob- 
bers. Two of them have been heard of — way back 
in the North Woods. But no one seems to have 
seen the third one again. 

Kitty. They'll be sure to find him. (Serious 
expression on Jimmy's face) 

Bobby. But no one saw his face. He might 
even be right here — in this town, now! 

Kitty. That's absurd. 

Bobby. Well, you can't tell, he might be. 
Stranger things than that have happened. (He 
exits hack imth a fezv hoxes) 

Jimmy. (Sits at desk at c. ; watches Kitty work- 
ing at her desk, heside c. desk. Kitty's expression 
is a very sad one) Lonely? 

Kitty. Yes. 

Jimmy. For? 

Kitty. My brother ! 

Jimmy. (Dejectedly) I'm lonely, too ! 

Kitty. For ? 

Jimmy. You! 

Kitty. Impossible! We met only an hour ago. 

Jimmy. Love knows no time. 



"IN WALKED JIMMY" 6i 

Kitty. You forget, I do not know you. 

Jimmy. Cupid's working just the same. 

Kitty. — nor where you have come from ! 

Jimmy. I'm your Cavalier — out of the No- 
where — into the HERE ! 

Kitty. — nor why you have come — or what you 
are! 

Jimmy. I am an Optimist! ("Kitty smiles, in- 
credulously) I can't be much else, 'cause all I have 
is a heart full of love, and $4.37— and TWO 
NECKTIES ! 

Kitty. You're very brave — and unusual! 

Jimmy. You shouldn't find it hard to fall in 
love with a man who has such good traits. Will 
you try? (Leans toward her; looks into her eyes) 
Think it over. 

Kitty. I can't. 

Jimmy. Why? (The Girls at desks are listen- 
ing, attentively. All lean forward. Jimmy and 
Kitty perceive this; they get back to work, some- 
what embarrassed. Jimmy says to Kitty, tersely) 
I said "NO," Miss Blake. The books must be kept 
just so! f Girls go back to work. Jimmy edges 
closer to Kitty; whispers) Will you marry 



me 



Kitty. (Whispers back) No. I can never 
marry you. May I explain ? 

Jimmy. Except for excessive taxation, this is 
a free country. 

Kitty. I must be sure my husband is — and has 
been — a gentleman. I can't tell what you are — just 
by looking at you. 

Jimmy. I'm — taking — a chance — too! 

Kitty. It's diflferent. 

Jimmy. I believe in love at first sight. My 
mother met my father at nine one morning. When 
the cuckoo chirped 12 times, my father had pro- 



62 "IN WALKED JIMMY" 

posed. At nine that night, they had been married 
three hours. And they Hved happily ever after. 

Kitty. Your mother must have been a brave 
woman. 

Jimmy. Can't you have faith in me? 

Kitty. I — I don't know. 

Jimmy. Look at me. Do I look as though I 
have ever served in a penitentiary ? 

Kitty. You've taught me one can't always be- 
lieve what one sees, f Jimmy makes a wry face) 

Jimmy. (Out loud) Miss Blake, your ideas are 
all wrong. ("Miss Rogers enters at back) Miss 
Rogers, when I give you this signal — (Bangs tele- 
phone down on desk at c.) — I want you to send all 
the girls through here. Let them enter that door — 
(Points to back) — and go out that door — (Points to 
L.) Let them walk through the lasting room, then 
let them walk through here again. I want them to 
walk through here at least five tim.es. 

Miss Rogers. My mother's aunt used to say 

Jimmy. (Interrupts) It's putting a big thing 
over. Now, we're going to make this factory look 
large enough for you to think you're getting $75 per 
week. Understand ? 

('Bobby enters with packages from back) 

Miss Rogers. You bet, I understand. (Exits 
back) 

Jimmy. Bobby ! 

Bobby. On the job, sir! 

Jimmy. I want you to go out in the finishing 
room. Make up half a dozen big shipments. Tag 
them for different cities all over the world. Give 
that imagination of yours a free rein and let it per- 
form. Get Andy to help you. 

Bobby. But what shall I 



"IN WALKED JIMMY" 63 

Jimmy. Think — think — think! Use that organ 
God intended for a brain. Think and — HUSTLE 
—and SMILE! 

(Messenger boy enters L. with telegram) 

Bobby. On the job, sir. (Exits back. Jimmy 
looks at gram; hands it to Kitty; she opens if de- 
jectedly; looks distressed) 

Jimmy. No bad news, I hope? 

Kitty. (Has read gram) My brother's not 
coming. (Puts gram on her desk) I suppose 
he's too busy. That's the way it always is when a 
man goes out and becomes a success. He's apt to 
think a Httle less of the folks at home. 

Jimmy. (Encouragingly ) Hope builds up. 
Worry tears down. Don't you know that? 

Kitty. I'm trying to think the best — but he's 
been gone two years. Billie promised to come home 
TO-DAY. (Very disappointedly. She chokes a 
sob. Jimmy watches her in silence as Josiah Bart- 
lett enters at l. Bartlett is a man of around 
fifty, prosperous in appearance; gentlemanly-like in 
attitude. He stands in doorzuay, taking in the room 
at a glance. Kitty goes to her work. Jimmy at 
desk, at c, as Bartlett crosses to KittyJ 

Bartlett. (Hands Kitty a card) I want to 
talk with the Manager. My card ! 

Kitty. (Takes card; reads it) I'll tell him, Mr. 
Bartlett. (^Bartlett crosses to r. Kitty whispers 
to JimmyJ One of our creditors. 

Jimmy. (Pretends to be busily occupied. Bart- 
lett turns around. Kitty hands card to Jimmy, 
who rises; glances at card) Delighted, Mr. Bart- 
lett — to know you. (Pretends to suddenly remem- 
ber something important ) Pardon me for the frac- 
tion of a second. I have a letter which I must get 



64 "IN WALKED JIMMY" 

out. I'm very busy — VERY. Won't you be seated, 
Mr. Bartlett? (^Bartlett sits at L. of desk at c.) 
Take this dictation, Miss Blake, f Kitty takes dic- 
tation ivhile Bartlett listens) "Berry, Baldwin & 
Co., Duane St., New York City. Gentlemen: Tele- 
gram explaining situation sent you last ight. Your 
courtesy in desiring to purchase our factory was 
indeed appreciated. Your offer of — $100,000 cash 
will be taken into consideration when one of the 
members of our firm, who is at present traveling in 
the Orient, returns. However, I'm almost at liberty 
to state, we do not now, or at any future time, care 
to dispose of our business." Did you get that. Miss 
Blake? 

Kitty. Yes, sir. 

Jimmy. Yours most sincerely (Sighs; 

crosses to l., as Moses Graham enters l. A small, 
weazened-iip man, middle-aged. He, like Bartlett, 
gives the impression of being a successful business 
man. He carries a cane, and when nervous, taps 
the floor with it) 

Graham. You here, Josiah? ('Jimmy signals 
for fake phone ring) 

Bartlett. (To JimmyJ This is Mr. Moses 

Graham, my cousin — and (Girl at phone taps 

hell; answers phone by taking receiver from hook) 

Girl. Hello. . . . Just a moment. . . . 

Jimmy (Shakes hands with Graham J De- 
lighted, Mr. Graham. (To Girl at phone) If 
that's the man who wants to sell us several trucks 
to do our hauling, tell him to ring me up again. 
Never mind — connect me. (Goes to phone; pre- 
tends to talk into it) Hello . . . this is the Mana- 
ger. 

Bartlett. (To Graham; both down lJ Looks 
sort of busy around here. 

fANDY enters "L.) 



^*IN WALKED JIMMY'* 65 

Jimmy. (Into phone) Yes ... we need two 
trucks to do our hauling- to the depot — so give me 
your lowest terms. (Hangs up; sees Andy J Andy, 
hustle up a little. We have 300 orders to g-et out 
to-day. (Andy is nearly flabbergasted with sur- 
prise. Bartlett ayid Graham appear impressed ; 
look at each other zvonderingly ) 

Andy. (As he exits back) Lord o' Massey ! 

Jimmy. Just a moment, gentlemen. Have a 
cigar. (^ Jim MY signals to ring bell. Girl at desk 
taps bell) Pardon me, gentlemen, f Jimmy takes 
up phone) Hello . . . yes . . . (Then Jimmy lis- 
tens to what the men say) 

Bartlett. We shall see if he gives us our 
checks. 

Jimmy. Miss Blake, an order over the wire. 
Take it. (To men, as Kitty takes up receiver) 
I'll be with you in a moment. (Takes letter from^ 
desk; then exits back, as Higgins enters l.) 

HiGGiNS. How do you do, Mr. Bartlett? 

Bartlett. Mr. Graham, Mr. Higgins. (They 
acknowledge introduction) 

Higgins. Come to look over this concern, eh? 
Some difference since the new manager moved the 
whole office force over here. 

Bartlett. I'm rather at a loss to understand 
this sudden prosperity. 

Higgins. It seems they've had their real busi- 
ness in Newark, but this young fellow has decided 
to bring his capital up here. 

Graham. Ah, fresh capital, eh? (Moves up 
stage) 

Bartlett. I wonder how much. 

Higgins. Oh, a large amount, gentlemen. A 
large amount! This chap told me personally he 
was going to put every dollar of his in this con- 
cern. 



66 "IN WALKED JIMMY" 

Bartlett. That explains it! ("Kitty pretends 
to he taking order. Graham walks to desk; and 
happens to notice some letters; glances at them; 
then deliberately reads them without picking them 
up) 

Graham. (Whispers) Josiah ! ( Motions 'Qawy- 
LETT to take a look at the open letter on desk) 

Bartlett. (Crosses, casually, to c. desk; notices 
the letters, as Jimmy peeps in at hack) Um! To 
Marshall Field & Co., Chicago. R. H. Macy, New 
York. And Wanamaker's, Philadelphia. 

("Jimmy enters at hack) 

Jimmy. Ah, gentlemen, make yourselves at 
home! ' (Office is very busy; all girls appear to he 
working. Jimmy picks up letter) 

Jimmy. This is wrong. The name is J. P. Mor- 
gan, not P. J. (Exits hack hurriedly) 

Bartlett. (Who has heen snooping around — in 
undertone to Graham j He refuses a loan of 
$25,000 at 4 per cent. 

Graham. Why has he done that, I wonder? 

Bartlett. When a man refuses money, he*s 
either insane— or HE DOESN'T NEED IT ! 

("Jimmy enters at hack, with shipment of goods, 
which he places at l.) 

Jimmy. Two of my stock boys are sick to-day. 
I've got to pitch right in helping to get out the or- 
ders. Three hundred to-day! (Crosses to desk 
with invoice. Exits hack) 

Bartlett. Moses, I notice they sell only A No. i 
accounts. 

("Jimmy enters back, carrying another shipment, 
which he places at l., on top of previous ship- 
ment) 



"IN WALKED JIMMY" ^J 

Graham. (To BartlettJ Why is the reputa- 
tion of this concern so poor? 

Jimmy. (About to exit at hack; stops) Do you 
care what your reputation is? 

Graham. Sir? 

Jimmy. "Reputation is what others THINK we 
are. Character is what we REALLY ARE." Our 
reputation is bad because our competitors make it 
so. In business, gentlemen, jealousy is a disease 
and harmful language is the Quack that cures it. 
(As Bobby enters, bringing in as many shipments 
as he can carry. Jimmy helps him place them at l.) 
Bartlett and Graham silently admire the leathers 
in the stock room. Jimmy crosses to Kitty; in an 
aside to her) Make out checks for these gentle- 
men. 

Bartlett. (As Bobby rushes out at hack. To 
Grahamj These are fine skins. 

Jimmy. Yes, sir, and not an unpaid bill for them 
anywhere in THIS office. (Fake phone hell rings) 

Kitty. Telephone. (During remainder of scene, 
Andy helps Bobby bring in shipments ; places them 
down L. Kitty crosses to phone; takes up receiver) 
Hello. . . . The freight agent of the New York 
Central wants you. 

^Andy enters hack with shipment) 

Jimmy. (Into phone; holds imaginary conversa- 
tion, while Bartlett and Graham notice tags on 
shipments at l.) Hello . . . you, George? 

Graham. (Reads tags) John Irish, New South 
Wales, Australia. 

Bartlett. Glory and Co., Cape Town, South 
Africa. John Bosin, Bellingham, Washington. 

Jimmy. Yes, sir, I'll think it over. (Hangs up 
receiver. To Kitty, in a casual tone) The New 



68 "IN WALKED JIMMY" 

York Central will make us a rate if we ship over 
their railroad exclusively. Make a note of that. 

Bartlett. Why do they do that? 

Jimmy. (Extravagantly comic) Think of the 
ADVERTISING the New York Central would get 
if the Cinderella Factory shipped exclusively over 
its railroad! (Exits back, triumphantly. Higgins 
crosses to them, down l.) 

Bartlett. Looks like they're doing- an export- 
ing business. (To Graham j And you told me 
we had better press them for our money. 

Graham. (Himself impressed with the factory's 
stability) But they're four months over due 

Bartlett. A mistake. They forgot our bills — 
that's what. An oversight. Why, we're little fish 
to this firm. 

Higgins. I'm strong for this concern. The new 
manager told me on the Q. T. he has 20,000 ac- 
counts on his books. 

Bartlett and Graham. (Together) Twenty 
thousand 

Higgins. Two hundred and thirty-six to get out 
to-day. Think o' that. Te he he he ! 

CJimmy enters back with other shipments) 

Bartlett. (To Graham J Three hundred, 
wasn't it? 

Higgins. It's a big thing. I can see it grow 
every minute. 

Bartlett. I had no idea this concern was so 
large. 

Jimmy. Miss Blake, take this dictation. "S. and 
G. Leather Co. Kindly submit samples of your 
pinks and browns " 

Bartlett. (Eagerly) I'd like to have that busi- 
ness. I've an apology to make. (Smiles) 



"IN WALKED JIMMY" 69 

Jimmy. (Goes to desk; picks up phone) Ah, 
Mr. Bartlett, you're just handsome when you smile 
Hke that ! (Lets the phone crash on desk, as though 
it had accidentally fallen from his hand. This is 
the signal for Miss Rogers to send in girls. Door 
at hack opens and the girls begin to stream in at 
hack and exit l. They walk in t7vos and threes. 
Make noise while zvalking through. The amount 
of girls seems to please the men. As action pro- 
gresses, this satisfaction changes to surprise; then 
to amazement. The room gradually becomes lighter 
and by end of scene with Bartlett and Graham, 
the sun shines again, throwing its light full across 
the stage) 

Jimmy. (To Miss Rogers j Don't let any more 
of your girls go out this way. Send the others 
down the back way. 

Bartlett. (Aside to Graham ; in tone of dis- 
gust zvith Graham j Bankruptcy, eh? Look at the 
force they employ. 

HiGGiNS. Salesmen in Australia. Think o* 
that! (^Bartlett stands thinking. Graham is 
humbled; believes he has made an error. Kitty 
watches with satisfaction. The village bell strikes 
twelve times) 

f John enters hack) 

Bartlett. Ah, good morning, Mr. Trellavan. 
('John is surprised at Bartlett's affability) I want 
to apologize to you for that letter sent you yester- 
day. It was an error — a stupid stenographer of 
mine. I'm coming back to-morrow to sell you 
MORE leathers. Good morning. 

John. But 

Bartlett. It's all right, Mr. Trellavan. Fm not 
afraid to credit you. I just heard you've taken in 



70 "IN WALKED JIMMY" 

a partner and refused an offer of $100,000 for this 
business 

John. (Ready to topple over from excitement ; 
as though it were all impossible ; to Jimmy J THEY 
HEARD THAT????? 

Jimmy. (Shrugs his shoulders; in tone that in- 
dicates ''We may as well make the best of if ) It 
couldn't be helped! 

Bartlett. (Deferentially) Good morning. Fll 
see you again to-morrow. 

Jimmy. Your checks, gentlemen! 

Bartlett. No hurry — no hurry! 

HiGGiNS. (Speaks when Bartlett does) I'll 
drop in later. (^Graham, Bartlett and Higgins 
start for exit l.) 

Jimmy. (Laughing) Your checks, gentlemen! 
(As Curtain starts to descend, Jimmy proffers a 
check to Bartlett, who places his hand over Jim- 
my's, shaking his head — ''No! No!" Jimmy, 
laughing, turns to Higgins and Graham, trying to 
force checks into their hands. Higgins and Gra- 
ham and Bartlett back up for exit l. Higgins 
refusing his check, Bartlett patting Jimmy on the 
shoulder, trying to quiet him, Graham zvith both 
hands raised, refusing check with a look of horror 
on his face, at thought of taking check. John, thun- 
derstruck, in chair at r. Jimmy, following the three 
men as they exit door l., proffering checks, laugh- 
ing — they refusing them! As three men exit, they 
close door, leaving Jimmy standing at same in 
hearty laughter while John, now on his feet, stands 
looking at Jimmy with an awed expression) 

QUICK CURTAIN 



ACT III 

Eight months later. 

Scene. General offices of the Cinderella Corpora^ 
tion. A large room, c, large mahogany table 
with four chairs on each side of it. Large 
chair at each end. Small table with typezvriter 
on it, up L. Water stand with tank of zvater 
and glass at r. At back, overlooking surround- 
ing buildings, are three large windows. From 
them can be seen — on furthermost building — a 
large electric sign: CINDERELLA, which 
flashes on and off. Windows, curtained in 
green. A large ''C* on each zvindow blind. 
Door to R. of windozvs bear the words ''AD- 
VERTISING MANAGER." Door to l. of 
windows is marked "GENERAL MANA- 
GER." Door down l. bears word "PRESI- 
DENT." Up L. is door which is entrance from 
outside. Several framed pictures of a large 
building (presumably the Cinderella Bldg.) on 
walls at back. Chairs, here and there, around 
room. On floor, a bright green rug gives a 
cheerful appearance. It is 7 P.M. in December, 
Curtain rises. Electric sign flashes on. Andy 
turns on lights. He is now dressed in a blue 
uniform with brass buttons; stands grumbling, 

Andy. Dis heah night work ain't 



(Enter Bobby Day, at r., dressed very prosperously. 
A decided change from the Bobby of the first 
acts. Bobby walks erect, a typically successful 
business man) 

7^ 



72 "IN WALKED JIMMY" 

Bobby. Andy, why the grouch? 

Andy. Dis heah obertime is mighty hard on an 
oV nigger — wid a wife an' son. Why, I ain't seen 
dat son o' mine 

Bobby. Ah, but think of the old times — just 
eight months ago, when there wasn't rnough work 
for half our force. Now look at us — double shifts 
in the factory, and overtime for all the office staff. 
Cheer up, Andy, let the sunshme in! (Exits R.) 

Andy. Dat sunshine am all right in de day-time, 
but it's gettin' so, nowadays, dat when I go home 
at night, I meet myself comin' to work in de 
mornin'. 

CKiTTY enters l. Great change in Kitty; much 
happier; livelier) 

Kitty. Good evening, Andy? How's the boy? 
Andy. You know. Miss Kitty, that son o' 
mine 

(Enter l. Miss Rogers, wearing a brilliant red dress 
under her heavy coat. She is adorned with 
beads and large earrings. The impression con- 
veyed is that she will remain young, at all costs. 
For now she has found the well-spring of Opti- 
mism through her propinquity to Jimmy J 

Miss Rogers. Andy, take my things upstairs. 

Kitty. Good evening. Miss Rogers. 

Miss Rogers. I'm so glad you're here. ("Andy 
exits R.J I want to have a good heart-to-heart talk 
with you. I'm in the most terrible dilemma. 

Kitty, (-l. of table) What's the trouble? 
(They are both removing their wraps) 

Miss Rogers, ^r. of table) I'm thinking of 
getting married ! (Begins to, powder her nose, etc. 



"IN WALKED JIMMY" 73 

Nervously) I must speak to someone — and I 
thought you would do as well as anyone else. 

Kitty. (Laughs) Thank you, Miss Rogers ! 

Miss Rogers. My dear, the postmaster proposed 
to me last night, and I've been nervous ever since. 
I'm so afraid if I marry him I'll always be wonder- 
ing if I couldn't have DONE BETTER— had I 
waited a little longer. 

Kitty. (Sincerely, as she sits at l. of table) 
I'm sure you'll be very happy. 

Miss Rogers. Oh, but it's taking such a chance. 
(Shrugs her shoulders) But then, if one never takes 
a chance, one never gets anywhere in the world. I 
never believed in GAMBLING — but it seems there's 
no way out of it. 

Kitty. I think you are the most fortunate of 
women, Miss Rogers. Some good man loves you 
and will take care of you. It's beautiful ! 

Miss Rogers. My mother's niece used to say, 
"A wedding march is the beginning of misery. A 
funeral march, the end of it." 

Kitty. You'll not leave me here until we find 
someone to take your place? 

Miss Rogers. My dear, don't have me married 
off — YET ! A woman has the privilege of chang- 
ing her mind. I'm still debating. 

Kitty. I thought you said you had accepted him. 

Miss Rogers. It was this way. Hank began by 
telling me how wonderful it would be if we could 
sail through life honeymooning! He told me about 
New York and Indianapolis and — OMAHA! 
(Sighs happily) It was irresistible — and I fell for 
it. Oh, I know now — it's the thought of a honey- 
moon that bamboozles a woman into saying "Yes." 

Kitty. Well ? 

Miss Rogers. (Stiffens up as though she were 
on the defensive) When Hank got me where he 



74 "IN WALKED JIMMY" 

wanted me, he began to talk about SAVING. He 
squirmed, wriggled, then he spluttered, "Delie, if 
you love me, let's call the trip off and put the money 
in the bank." I'd told him only a second before 
that I loved him. What could I do? But between 
you and me, what do you know about that — for the 
tail-end of a proposal? 

Kitty. Hank is a regular business man. 

Miss Rogers. Starting in to wash dishes right 
after the ceremony will take all the ginger out of 
married life. What would YOU do? 

Kitty. Hank didn't propose to me. 

Miss Rogers. (Troubled) I wish to Heaven 
HE WOULD HAVE! 

Kitty. I'm sure he'll make you a good husband. 
(Rises; turns to l.) 

Miss Rogers. He don't believe in theaters, or 
dances, or clubs, or cafes, no kind of sociability. 
He's just smitten with the U. S. Government! 

Kitty. Then he'll make a good home for you, 
and, after all, that's what every woman needs. 

Miss Rogers. My dear, I've had a good home. 
I need TRAVEL. London, Paris, and oh, dear, 
I'm just crazy to see— NIAGARY FALLS ! They 
say the water's just WONDERFUL there! 

Kitty. After all, it rests with you. 

Miss Rogers. (Rises; crosses to Kitty J I sup- 
pose it does. But, my dear, take my advice. Don't 
let yourself get in the mess I'm in. I didn't sleep a 
wink last night. I'm sure, if I marry Hank, I'll be 
so unhappy — and if I don't marry him, I'll be un- 
happy, too! 

Kitty. Why don't you go to Jimmy with your 
troubles? He'll help you. 

Miss Rogers. (Whispers; as if the worst thing 
had come to light) Haven't you heard? 

Kitty. Heard ? What ? 



"IN WALKED JIMMY" 75 

Miss Rogers. They call him the "man of mys- 
tery." My dear, I'm mighty glad HE didn't pro- 
pose to me. 

('Bobby enters l.) 

Bobby. Some excitement in this burg. Well, if 
it comes to anything, I'm strong for Mr. Jimmy. 

Kitty. What's the matter, Bobby? 

Bobby. Nothing — really. That's the trouble. 
There hasn't been a scandal in a New York paper 
in a week. So somebody starts something here — 
and, I presume, gets paid for it. 

Kitty. But, Jimmy — what can they say about 
Jimmy? He has helped everyone around here. 
(Pause. Bobby is serious) Tell me. They must be 
saying SOMETHING— if there's excitement 
CBoBBY turns from KittyJ 

Miss Rogers. People don't say anything when 
they talk, THESE DAYS. They just start their 
mouths a-going, then they go off and leave them! 

Kitty. Bobby, tell me! 

Bobby. (Turning towards Kitty j Listen, Kit, 
what do you care what people say ? So long as you 
love him? (With enthusiasm which mounts higher 
and higher) Be independent ; be strong ; stick to 
him through thick and thin. Kitty, be a MAN!!! 

Kitty. Bobby, you frighten me! 

Bobby. Remember the Devil's Curve hold-up^ 
He arrived on that day. You heard that the State 
offered a reward of $1,000 for the capture of the 
bandits. 

Kitty. Yes. Go on ! 

Bobby. Since you have taken such a violent 
fancy to Mr. Jimmy, Arnold Baker's become a de- 
tective. He keeps trying to find things to point sus- 
picion towards the Boss. If he'd work half as hard 
at this business, he'd be a millionaire. 



yd "IN WALKED JIMMY" 

Kitty. Go on! (Tensely) 

Bobby. It is rumored about town that Arnold 
told Mr. Jimmy he was going to find out all about 
him. And Mr. Jimmy answered, "It doesn't make 
much difference what I was. I'm a gentleman now. 
Why don't you try to be the same ?" 

Kitty. I don't believe Jimmy would say a thing 
Hke that. 

Bobby. You never were in the room with him 
when he was ALONE with another man, were 
you? 

Kitty. (Laughs in spite of herself) No ! Does 
Jimmy know what people are saying? 

Bobby. Of course not. 

Miss Rogers. My mother's aunt used to say, "If 
it weren't for the fools in the world, the newspapers 
couldn't get. out a daily edition." (Exits R. Kitty 
sinks into chair at r. of table, very worried) 

Bobby. (Looks at her sympathetically ) I know 
how you feel. (Crosses to her; pats her, pal-like, 
on her shoulder; shakes his head slowly, thought- 
fully; crosses to r. ; exits slowly through door, 
marked *' Advertising Manager." Kitty rises, 
weakly ; goes to typewriter table ; takes vocer from 
typewriter, as Jimmy enters l. She looks up; smiles 
sadly. Jimmy crosses to her; whispers something 
in her ear) 

Jimmy. (With a dash of mischievousness) Yes? 

Kitty. No ! 

Jimmy. (A hit disappointed ; takes off his fine 
overcoat and hat; puts them on elevator bench) 
Kitty, my girl, in the future when I make my dec- 
laration of love, I shall LIE a little! 

Kitty. Jimmy ! 

Jimmy. I see now why every man must lie a 
little when he proposes. The girl won't have him — 
if he doesn't! 



"IN WALKED JIMMY" j-j 

Kitty. You don't mean that? ("Jimmy unlocks 

his office door) Jimmy — I just heard (Stops; 

she sees John entering door l.) 

Jimmy. (Unlocking door "General Manager^') 
Go on. Tm an attentive audience. 

John. Good evening, Miss Kitty. Jimmy, my 
boy! fJoHN is now completely changed; walks 
more erect; has an air of poise ; is more alert and 
keenly alive to present-day conditions ; wears the 
air of a man who has faith in himself — a man zuho 
has prospered financially and mentally and morally. 
Kitty crosses to R.J 

Jimmy. (Turns around; pats John affection- 
ately on his shoulder) And how's my grand old 
man on this 15th day of December? (Sincerely; 
laughs good-naturedh) With a fine new suit on — 
and a shirt— a PINK shirt, Miss Kitty. Behold 
our dapper, young man! 

John. You once told me there's psychology to 
colors. I never understood it, Jimmy, but I believe 
you. (He looks toward zmndozvs. Kitty exits r.J 
It was sort of cloudy to-day so I thought a bright 
color might help some. (Crosses r. to chair) 

Jimmy. (Scrutinising JohnJ J. T., there's 
something distressing you. You didn't sleep well 
last night. 

John. How do you know ? 

Jimmy. J. T., you're handsome when you smile 
— ^and when you don't, you're worried. Now, tell 
me, why is the flag at half mast? (Laughs; leads 
John gently to chair by large table. John removes 
his overcoat; sits) 

John. All last night I rehearsed every scene 
since your arrival. How you found the factory; 
how you found me, starved mentally because of 
overwork ; how you taught me to be happy ; how 
you made Graham and Bartlett and Higgins believe 



78 "IN WALKED JIMMY" 

in us ; how you transformed Bobby Day. It*s won- 
derful! 

Jimmy. (At table) Is that what kept you 
awake ? 

John. I couldn't help thinking how we've grown 
to such proportions that now the entire commercial 
world is talking about our success. 

Jimmy. (Laughs) And that's why you couldn't 
sleep ? 

John. It's a miracle! 

Jimmy. (Strong) Miracle — nothing! We've 
grown big — because we have been RELIGIOUS ! 

John. (Surprised) What??? 

Jimmy. (As John ahsentmindedly takes a baby- 
shoe from his pocket and fondles it) What we have 
manufactured has shown there's a principle behind 
our work. Do you know why that little baby-shoe 
is the most popular one in the country to-day ? And 
all in eight short months? 

John. A miracle, my boy — and YOU ! 

Jimmy. (Enthusiastically) No! Just right 
THINKING applied to daily living, oozes out of 
every stitch in that shoe. We've shown by our 
actions we believe in our own greatness and in the 
greatness of others. And, above all, we've BEEN 
HONEST! We have given more than a dollar's 
worth for a dollar. We have been supplying human 
wants faithfully and we have been singing the song 
of success while we've been doing it. We've been 
DECENT in the game of business — and nothing 
can keep DECENCY down ! 

John. Jimmy, my boy, let me talk plainly. Do 
you really think that bluffing Bartlett and Higgins 
and Graham into believing we were a corporation 
was honest? 

Jimmy. Didn't we file corporation papers im- 
mediately? Haven't we made GOOD? Hasn't 



. "IN WALKED JIMMY** 79 

every dollar they put in here TREBLED? We — 
dishonest? No! We have been CHARITABLE !! ! 

John. But 

Jimmy. — Why, before we incorporated this vil- 
lage was only a dot on the map. When the engi- 
neer saw it in the distance, the train always got up 
more steam — and SHOT BY! To-day, the crack 
Limited stops without a signal from the flagman, 
and the conductor shrieks at the top of his voice, 
"This is the Home of the Cinderella Factory. To 
the left, ladies and gentlemen, that tall yellow build- 
ing is the father of all the little white buildings." 
(Both men laugh good-naturedly) J. T., I call that 
the sweetest music I've ever heard — and I wouldn't 
apologize to even Wagner for saying it. f John has 
risen; is now at r., looking out of window) 

John. I'm afraid it's going to rain. Do you re- 
member that terrible storm — the day you came here, 
Jimmy? (With weighty thoughts preying on his 
mind) 

Jimmy. J. T., you're not yourself. Why refer 
to that day I came? (Pause. Looks at John, quis- 
zically; exits to him) Is it you feel you can get 
along without me? If so, don't hesitate to tell me. 
(Pause; John hangs his head) 

John. My boy, I've learned to love you — as I 
would my own son ! 

Jimmy. I know you do. I love you as I would 
have loved my own father, had I known him — and 
yet, I'm remaining only so long as you need me — 
and — ^because I love Miss Kitty. (Humorously) 
I've been waiting almost six months to hear that 
little word that only takes a sixteenth of a second 
to say to make a man happy for life. But she al- 
ways loses her tongue at the most inconvenient time, 
f Kitty enters from r. zvith Andy, who pulls down 
the shades) 



8o "IN WALKED JIMMY" 

John. My boy, I want to talk to you — about 

(Says the above as though if were a subject of great 
importance ; when he sees Kitty, he stops; crosses 
to door marked ''PRESIDENT') I'll speak to you 
later. (Exits through door) 

Jimmy. (Stands for a moment deep in thought; 
Kitty comes up behind him; he turns; shakes off 
his seriousness ; smiles dozmi upon her) Shall I be- 
gin to "fib" a little? Or shall I ask you, what are 
you going to tell me now, to cheer me on? 

Kitty. I'm going to tell you, you're very — very 
romantic. And now, I want you to be very serious 
— ^because 'I have something to tell you. I was up- 
stairs with Michael. He's in the cutting room, 
working under the strain of a terrible grief. His 
wife — just passed on! 

Jimmy. (Appears very concerned) Is Michael 
the tall bronzed man? 

Kitty. Yes. 

Jimmy. I'm sorry! We must send him home. 
(Picks up receiver of telephone) Hello . . . cut- 
ting room . . . Bill? Tell Michael he may have a 
week's vacation on full pay. (Hangs up receiver) 

Kitty. (Gratefully) That's just like you, 
Jimmy — so good and kind ! 

Jimmy. It must be hard, dear, to lose one one 
loves! (Looks at Kitty with a wealth of love in 
his eyes) 

Kitty. Jimmy, I've never seen you so serious. 
Aren't you satisfied to know I love you? Jimmy, 
do you know people are talking about you? 

Jimmy. They must say something to keep from 
falling asleep with the roosters, Kitty. 

Kitty. Do you know what they are saying? 

Jimmy. (Lightly) Um-hum! Mrs. Higgins 
told me I should be shot. She said, one can see it 
in your eyes, I'm breaking your heart. 



"IN WALKED JIMMY" 8i 

Kitty. They're saying more than that, Jimmy! 

Jimmy. (Takes both her hands in his; leans over 
table) When will we stop their idle gossip, Kitty? 
Tell me! f Jimmy comes to her, very close; about 
to take her in his arms) 

Kitty. I want to wait until my brother comes ! 
(A shade of sadness crosses Jimmy's face) Jimmy, 
it won't be long. I'm sure he'll come soon. 

Jimmy. I hope so. 

Kitty. He will, dear. I know it. Billie has 
never failed me yet. (Trying to find some reason 
for his absence) I suppose he's been sailing along 
on the wings of success— and he's likely to have 
forgotten how much he means to me. I want him 
to be our best man. Dear, you know I love you. 
There never has been any man in my life — but just 
YOU! You're first, last and always. You're my 
big, v/onderful man! 

Jimmy. That's the 999th time. 

Kitty. I never tire of speaking the truth, 
Jimmy. 

Jimmy. Don't tell me the truth so often. Tell 
me something that's going to make me feel BET- 
TER. 

Kitty. For instance? 

Jimmy. That you can't live another moment 
without me. 

Kitty. Jimmy, if you plead very hard, I — I 
might give my consent to our marriage — to-mor- 
row! QiMMY clasps her to him, joyously) 

Jimmy. Kitty, you've made me the happiest man 
in the world. (They kiss; hold it; then draw apart) 

Kitty. Now I must get to work. (She crosses 
to door "PRESIDENT' ; turns to him, half em- 
barrassed) If I make any mistakes to-day, will you 
"fire" me? 

Jimmy. (Laughs; answers in a business tone) 



82 "IN WALKED JIMMY" 

Miss Kitty, there's never any excuse for mistakes — 
except when one is figuring on buying a trousseau in 
a hurry ! (Both laugh; Kitty exits down r. Jimmy 
crosses to table; picks up a few papers; looks them 
over as Andy enters lJ 

Andy. Excuse me, Mr. Jimmy, dar's a man out- 
side who wants to see Miss Kitty. 

Jimmy. Tell Miss Kitty. 

Andy. Yes, suh, but I thought you had better 
see him fust. He don' look right to me, suh. 

Jimmy. What's wrong with him? 

Andy. He ain't nothin' but a boy, suh, but he's 
awful worried and his clothes ain't what my son's 
goin' to wear 

Jimmy. Probably looking for charity. Send him 
in. I'll see him. 

Andy. Yes, suh, Mr. Jimmy. You know, dat 
son o' mine 

Jimmy. Show him in, Andy. I'm in a hurry. 
(^Andy exits L. Jimmy takes a suit-box from table; 
puts it against ''General Manager" door. Billie 
enters l. ; zvears long raincoat; tan shoes; slouch 
hat) 

Billie. (Sees Jimmy; drazvs back) Oh, I — I 
wanted to see my — Miss Blake. ('Billie Blake is 
a typical appearing " down-and-out er^' : a boy who 
has failed to make good, because of an inherent 
zveakness. There is nothing of the criminal in 
Billie ; he merely lacks stamina, and he needs a 
guiding hand) 

Jimmy. Come in. Shut the door. Now, what 
do you know about Miss Blake ? 

Billie. Nothing. I — I just want to see her. 

Jimmy. Are you in trouble? Is it money? 

Billie. No — I — I — just 

Jimmy. Come! Out with it! What do you 
want of Miss Blake? Who are you, anyway? 



"IN WALKED JIMMY" 83 

BiLLiE. YouVe no right to question me. I want 
to see Miss Blake — and it's none of your business 
why — and it doesn't matter who I am. She's — 
well, I want to see her. That's all ! 

Jimmy. Perhaps I've been a little brusque, but 
I hope to marry her shortly — and I'm inter- 
ested 

BiLLiE. (Surprised) You're going to marry 
her? (With some emotion) 

Jimmy. I hope so. 

BiLLiE. That's different. (His tone causes 
Jimmy to eye him, severely) I'm sorry — I — I didn't 
mean — I'll see her — some other time. (Very 
brokenly) 

Jimmy. Wait a moment. Where have I seen 
you before? ("Billie tries to make a dash for door 
down I..) Wait! I KNOW! You're the 

BiLLiE. (With a suppressed cry) No, I'm not — 
you're wrong — I'm not the man ! 

Jimmy. Not what man? You're in too much of 
a hurry, boy! (Grapples zvith him; holds him) 

BiLLiE. (Trying to free himself) You let me 
go — let me out of here 

Jimmy. Not quite so fast ! You're the young 
fellow with whom I had the struggle the night of 
the hold-up. You're the boy who was standing 
guard. Don't be frightened — I could have held you 
that night if I had wanted to give you to the officers 
— ^but there was too much good in your face. I 
couldn't do it. And you've brought me luck. I 
stopped off here, thinking you might drift into this 
town — and I stayed instead of going through. I 
found work and happiness here — while waiting for 
you to come back. (Pause) I couldn't get your 
look of hopeless misery out of my mind, boy, for a 
long time. 

BiLLiE. Who are you ? 



84 "IN WALKED JIMMY" 

Jimmy. (Half evasively) I hope you are face 
to face with— YOUR BETTER SELF! 

BiLLiE. Tell me (With some fear in his 

voice) 

Jimmy. I'm your friend. I proved it that night. 
Now tell me, why do you want to see Miss Blake? 
(Pause.. BiLLiE hangs his head in shame) Are you 

any ? (A look of horror comes into Jimmy's 

eyes) You're not ? You're not her bro ? 

BiLLiE. I am her brother ! 

Jimmy. My God! Her brother — and mixed up 
in a deal like that ! 

BiLLiE. Wait! You don't know — ^you don't 
know 

Jimmy. Tell me. I want to know — everything! 

BiLLiE. We both had to work for our living and 
Kitty sent me away where there were bigger oppor- 
tunities. She always believed in me — that I'd be 
successful, and do big things. I didn't — I got in 
wrong, nothing crooked, but I didn't seem to get a 
start. I gave up and started to make my way back 
here to begin again with her. Have you ever tried 
to beat your way for any distance? f Jimmy shakes 
his head ''no'' ) Well, you meet some strange peo- 
ple. I traveled two days with the men who tried 
to get that express box. I didn't know who they 
were, nor why they wanted to hang around Devil's 
Curve. Finally, early that night, they told me 
— and threatened me if I didn't stick. I was to have 
the easy end of it — just hold back the crew when 
they came out — and I was to have a share. I was 
tempted — until the time came — and when they be- 
gan to shoot at the door — I turned and ran — not 
through fear of what might have happened to me, 
but to get away from any chance of doing wrong. 
From that time on, you know what happened. I 
ran straight into your arms — and after the talking 



"IN WALKED JIMMY" 85 

you gave me I couldn't have done wrong if I had 
tried ! God, but you were good to me ! 

Jimmy. Why didn't you come to her then? 

BiLLiE. I was afraid — I knew they'd search. 
I've been in hiding until it blew over — doing odd 
jobs for farmers — anything to get along — ^but I 
couldn't stay away any longer. I had to see — my 
sister. 

Jimmy. Don't you know there's a reward out 
for 

BiLLiE. (Wildly) You won't let them get me 
— ^you'll help me. 

Jimmy. Quiet! Your sister's in there. 

BiLLiE. (Points to L.) In there? 

Jimmy. Wait! She mustn't see you now — al- 
most in rags, with every mark of failure. You've 
got to be a success — to look like one at least. 
There — (Sees suit-box up l.) — the very thing — a 
suit of mine — just from the tailor. I was sending 
it back — it's too small. (Gives box to BillieJ 
Quick — into my office — and change. 

BiLLiE. (Half -stunned) I don't know — I 
can't 

Jimmy. Don't talk ! Act ! But promise me one 
thing. Whatever happens, you must under no con- 
ditions tell your sister the truth. She must always 
think of you as a big success. You have come home 
because you're lonesome for her. You have never 
seen me before to-day. Understand ? 

BiLLiE. Yes ! f Jimmy opens door "GENERAL 
MANAGER'') 

Jimmy. (Smiles) Stand up, boy! Shoulders 
back ; head erect ; and SMILE ! (^Billie tries to 
straighten up; succeeds; smiles) There! You 
know, you're just handsome when you smile like 
that! (^BiLLiE exits through "General Manager'' 
door; takes suit-box with him. Jimmy is about to 



86 "IN WALKED JIMMY" 

cross to R. when Arnold Baker enters down lJ 
How do you do, Mr. Baker? 

Arnold. (Dallies with a cane; smokts cigarette) 
My uncle down yet? 

Jimmy. Yes! 

Arnold. You people work day and night, don't 
you? (Raps on door marked "PRESIDENT." 
Jimmy walks up to Arnold; takes cigarette from his 
mrouth) 

Jimmy. Allow me to relieve you of your cigar- 
ette. We have 500 girls working on the floors 
above. We can't take any chances of imperiling 
their lives. (Crosses to ''GENERAL MANAGER'' 
door as Arnold again raps on ''PRESIDENT' 
door; Jimmy laughs; Arnold shoots an angry 
glance at JimmyJ Ah, Mr. Baker, you're just hand- 
some when you smile like that ! (Exits through door 
marked "GENERAL MANAGER" as Bobby enters 
R. through door marked "ADVERTISING MANA- 
GER") 

Bobby. Hello, old top! (Exits to Manager's 
door at l.J 

Arnold. Well, of all the You look like 

you've struck prosperity. ("Bobby raps on door) 

Bobby. I'm the best advertising manager the Cin- 
derella Corporation ever had. 

Arnold. You're the only one they ever had. 
f Jimmy's door opens; Bobby hands him large sheet) 

Bobby. Want you to look over the proof sheet. 
(Jimmy takes sheet; his door closes; Bobby crosses 
to R.j Excuse me, but to-day's my busy day. 
(With a feeling of superiority, he exits R. into his 
office through door marked "ADVERTISING 
MANAGER." Arnold stands laughing. Door 
marked "PRESIDENT" opens; John enters R.) 

John. (Quickly to Arnold^ Well? What 
have you found out? 



"IN WALKED JIMMY" S7 

Arnold. The worst. 

John. (Astonished; apprehensive; looks in di- 
rection of Jimmy's office) I'll not believe it! 

Arnold. (Smoothly) Nevertheless, it's your 
duty to sift this thing to the bottom. You want to 
protect yourself and others. Mr. Bartlett tells me 
the truth must be proven — whatever the truth is. 
(Sits on arm of chair, back of table; talks lightly) 

John. (His grave concern presents a striking 
contrast to Arnold's superficiality) Bartlett? 
When did he get to town? 

Arnold. A few moments ago. He came in with 
Graham. They're coming up here with Higgins 

to fKiTTY enters from the ''PRESIDENT' 

door down r. Arnold sees her and for a moment 
forgets everything else ; rises from arm of chair; 
sweetly) Good evening, Miss Kitty. 

Kitty. (Very lady-like) Good evening! ("Kitty 
raps on Bobby's door up r.) 

John. (Very worried) I'll ring Bartlett up. I 
suppose he's stopping at the Palace Hotel. (Exits 
through door dozvn r.) 

Kitty. (Calls to Bobby j Bobby, this is Kitty — 
with some "cuts" for the new catalogue. ("Bobby's 
door opens; hand is thrust out. Kitty hands him 
th^ cuts. Door closes; she stands back. Arnold 
crosses to her) 

Arnold. I've been away nearly four months, 
Kitty — Miss Kit^-y — can't you say you're glad to see 
me? 

Kitty. (Politely) I've said the only thing I can 
say. 

Arnold. Working hard? 

Kitty. Rather. 

Arnold. I've been thinking of you every day. 
You know why. (She turns from him; crosses to 
L.) I didn't think it was so offensive. 



88 "IN WALKED JIMMY" 

Kitty. Now that you know, I hope you will 
never speak of it again. 

Arnold. That's pretty tough on a man when he 
works hard. I'm working a great deal out of busi- 
ness hours on this hold-up affair. I'm still with the 
New York Detective Agency. (Goes to water 
stand; drinks as he talks) 

Kitty. I can think of more honorable profes- 
sions than hounding criminals. 

Arnold. That's Law! 

Kitty. If a man makes a mistake, give him a 
chance to live it down — and make himself anew. 

Arnold. That's sentiment. 

Kitty. It is neither sentiment nor law. It is 
RIGHT THINKING! 

Arnold. (Laughs caddishly) Beautiful ! The 
man from Heaven must have taught you that, 
eh? 

Kitty. (As she zvalks toward r. ; about to open 
door) Can you teach me anything HALF so beau- 
tiful? 

Arnold. You've been taken in by that man. 
Some day you'll see different. When the ice breaks, 
Kitty, I hope the water won't be too COLD. If it 
is, send for me. I'll rescue you (Crosses to n.) 

Kitty. (Fights back, angrily) If you mean 

what they're saying about him (^ Jim my enters 

from GENERAL MANAGER door) I don't be- 
lieve a word of it. 

Arnold. I don't expect you to — ^YET! 
• Jimmy. Kitty, my girl, I have a fine surprise for 
you. (He opens door up l.) 

Kitty. (Utters a low cry of fear) Jimmy! 

Jimmy. Your brother is here. (^Kitty can 
hardly believe her own ears) Come ! (Beckons 
Kitty to enter his private office) 

Kitty. Billie? (She rushes to door up l., and 



"IN WALKED JIMxMY" 89 

with a happy cry she exits through GENERAL 
MANAGER door) Billie _ 

Jimmy. (Grosses to c. ; a bit stern) Just what 
have you been telling Miss Kitty? 

Arnold. We'll talk thing-s over — later. (Exits 
down R. Door of ADVERTISING MANAGER 
opens; hand is thrust out, holding card on which is 
printed, ''BUSY. DO NOT DISTURB/' Card is 
hung on nail in c. of door; door is closed quickly. 
Jimmy notices this; stands siniling as Billie and 
Kitty enter from GENERAL MANAGER door 
— up L. j 

Kitty. Isn't Billie a fine man? Billie, this is 
our manager — but you may call him Jimmy ! 

Jimmy. I've said, "how do you do" to your 
brother. 

Kitty. He's been so successful. Just what I 
had hoped he would be — and I KNEW my faith in 
him was not misplaced. Oh, I can hardly believe 
he's home. ("Billie stands with his eyes riveted 
upon the floor) 

Jimmy. As he's your guest, you'd better walk 
home with him. See that he's made comfortable. 

Then (Out of the corner of his eye) I'll stay 

here and finish my work. You needn't come back — 
unless YOU WANT TO. (^Billie stops as if to 
say something) Good-night, Billie! f Kitty and 
Billie exit dozvn l. Telephone rings. Jimmy picks 
up receiver) This is Jimmy talking. . . . What? 
. . . At machine No. 4. . . . Fainted? . . . I'll be 
right up. ("Jimmy rushes to down l. ; exits, as John 
enters down r. Walks to Bobby's door; about to 
rap; sees the sign; smiles, when Higgins and Bart- 
lett and Graham enter l. ; all somewhat excited) 

John. (Turns around) Evening, gentlemen. 
Be seated ! 

Higgins. (Talks gruffly; appears nervous; 



90 "IN WALKED JIMMY" 

crosses to r., while Graham shakes hands with 
JohnJ We can't let this thing go any further, 
Trellavan. Jones and the rest of his gang are swear- 
ing out a warrant for the arrest of your Manager. 
(Pause) 

John. (Surprised; back of table) You can't 
mean THAT? 

Bartlett. (At R. of table) The people are 
worked up to a frenzy. They are crying — what's 
to become of the stock they hold in this corpora- 
tion? (^Graham, R.C.J 

John. (As though he were powerless; sits down 
heavily) Good Heavens ! 

HiGGiNS. They're sure he's implicated in the 
train robbery, and they're afraid of the security of 
the funds of this business so long as he's at the head 
of it. (Strong; convincing ) 

John. Mr. Higgins, the boy is as honest as I 
am. I would trust him with every cent I own. 

Higgins. (Pounds fist on table) Trellavan, with 
a man looked upon as a crook 

John. (Rises; flushed with anger) Mr. Hig- 
gins, I forbid the use of that word in conjunction 
with Jimmy's name ! 

Higgins. (With another pound of his fist upon 
the table) With that man at the head of this man- 
agement, the stock will drop to nothing. Every 
man, woman and child in the vicinity has invested 
in this corporation. We've got to think of them. 
We must protect them. 

John. It's an outrage. A gross injustice. The 
townspeople don't know what they're talking about. 

Higgins. Then it is up to us to find out. And 
we're going to find out — the truth. (Laughs sar- 
castically) 

Graham. Yes — the truth! 

Higgins. Who is he? I've got fifteen thousand 



"IN WALKED JIMMY" 91 

dollars invested in this concern, now. And I want 
to know who's running it. And I want to know 
ALL about him. 

John. Jimmy says, "You can't judge a man by 
the size of his bank account, nor by the number 
of battles his ancestors have fought. You can only 
judge a man by what he does, what he says and the 
way he says it." And Jimmy's right ! 

Graham. (Nervously) I have five thousand 
dollars in this corporation. 

HiGGiNS. Where is he? 

John. In his office, working on a report to sub- 
mit to the Directors, f Higgins rises; crosses to the 
GENERAL MANAGER door; about to rap; John 
stops him. Bartlett and Graham are seated at 
table) Wait! Mr. Higgins, when you speak to 
him, remember "I" consider him a gentleman. In- 
sult him — and you insult ME. 

Higgins. (Raps on door; gruffly) Business is 
business. 

John. And honor is honor. Respect it by giving 
him the benefit of the doubt. 

Higgins. (Knocks again on door; no answer; 
opens door; sees that the room is empty; bangs door 
shut; faces John defiantly) Well? The Bird 
HAS FLOWN!!! He's not in there. Where is he? 

('Jimmy enters down L.j 

Jimmy. Good evening, gentlemen. 

Bartlett. Evening. 

Jimmy. I'm glad you're all here. I have a re- 
port I want to show you. Our assets are getting 
larger all the time. Wait! I'll get it! (Too busy 
to notice the cold reception accorded him. He exits 
up L. ; then immediately enters. Gradually it has 
become darker. It now begins to rain) Come! Sit 



92 "IN WALKED JIMMY" 

down, Mr. Higgins. Let's talk this over, f Jimmy 
sits c. ; John at r. Bartlett and Graham are al- 
ready seated; turns to Higgins, who stands l. 
Smiles at Higgins J It's just as cheap to sit as to 
stand, Mr. Higgins. Have a cigar? (Very amiably) 

Higgins. There's something very important we 
have to say to you. 

Jimmy. (Notices for the first time the unkindly 
expression displayed towards him. For a moment, 
he stands in silence; slowly turns to John and other 
men; then, in a voice very low ad almost apolo- 
getic) If there is anything I have done that dis- 
pleases you, I — I beg of you to tell me about it. 

Bartlett. We are more than pleased with the 
results of your labors — but 

Jimmy. (After a pause) But? I am waiting. 
(Each man feels the delicacy of the situation; each 
waits for the other to begin) Well? 

John. My boy, there seems to be a little friction 
here at present. 

Jimmy. Here — in the factory? 

John. No. In the town! 

Higgins. Little friction ? Why, the town's mad 
with trouble. 

Jimmy. (With a smile) With four thousand 
persons in a town, there must be some trouble now 
and then. The policemen couldn't hold their jobs 
if there wasn't. 

John. This is serious. 

Jimmy. Then, let's all smile — and thank God it 
isn't worse. Come on ! Fire away ! 

Bartlett. To begin with, people are talking 

Jimmy. Think how terrible it would be — if they 
couldn't. 

Higgins. Yes siree! They're standing on the 
street corners; in Patty Magee's Chop House. 
Everywhere they're whispering it. The Ladies' Aid- 



"IN WALKED JIMMY" 93 

ers called a meeting. They were up late last night 
because of it 

Jimmy. Hurrah for the Electric Light Company. 

HiGGiNS. They're saying, do you know what? 

Jimmy. No! 

John. (Shakes his head) It's a wicked world. 

Jimmy. There's where you're wrong, J. T. It's 
a good world with enough of the wicked in it — to 
make it interesting. Well? Why these prelimi- 
naries? All of you are trying to tell me something. 
If it's about 

HiGGiNS. If you remember, a year ago- 



Bartlett. (Takes up the sentence where Hig- 
GiNS left ojf, as he hesitated to say further) — a train 
was held up — at the Devil's Curve 

Graham. — five miles down the line. 

Bartlett. Since then, the county and the state 
have been working on the case and, strange to 
say, 



HiGGiNS. — have been unable to find the bandits. 

Jimmy. (Buoyantly) Good ! I hope they never 
find them. 

HiGGiNS. What ? 

Jimmy. (Cleverly; humorously) To elude the 
police for a year shows they are clever chaps. We 
need clever men running around loose. The world's 
built up through brains. 

HiGGiNS. You believe such POPPY-COCK? 

Jimmy. (With finesse and a touch of the heroic) 
It don't cost anything to THINK THAT— and it's 
so much nicer than wishing them caught ! (Smiles; 
men look at each other, as they try to fathom Jim- 
my's strange philosophy) 

John. I see, my boy, you do not understand. 
People have put two and two together. A story here 
and a story there ! They believe they know one of 
the men who held up that train. 



94 "IN WALKED JIMjMY" 

Jimmy. J. T., we had a stenographer once who 
invariably put two and two togetlier and made SIX. 
It's the easiest thing in the world to make mistakes. 

John. They claim tliey have traced the one man 
to this town. (Pause. Jimmy grozcs serious) 

Jimmy. (Quietly, as he thinks of Billie; 
TRACED???? ("HiGGiNS nudges Bartlett ; as 
mueh as to indicate Jimmy is not so jovial now. 
Pause) 

HiGGixs. Yes, sir. Traced ! ! ! 

Jimmy. They must be pretty sure, then, that 
they have found the man? 

John. They think they are sure. 

TiMMY. (Begins to plan hozi' he can saz-e BillieJ 
Then he— he— has been WATCHED? (Register- 
ing some fear) 

John. (Sadly) Yes! (Juiyix's anxiety grozi's; 
he is quiet, intense, and does not notice that all eyes 
are upon him. His mind is zi'orking rapidly: his one 
thought is to save Kitty from learning the truth) 

Jimmy. (After pause, during zchich he has for- 
mutated plans to save Billie J Watched? 

John. (Notices Jimmy's distress; then in a tone 
that implies, ''Don't tell m^ you're the man!'') 
Jimmy ! ! ! ! ! 

Jimmy. (Crosses to back) I'm thinking ^ 

HiGGiNS. (In ugly tone) Come! Comel YOU 
know who the man is! f Jimmy zcheels about sud- 
denly, surprised: looks at Higgins, querulously; 
then quickly zcalks to door up L. ) 

John. XMiat are you going to do? 

Jimmy. I'm go'mg to get my hat and coat. 

John. (With a shade of disappointment) My 



bov 



Jimmy. I'll be back in a few moments. 
HiGGiNS. You can't leave here. (Menacingly. 
Men have risen; stand apprehensive) 



^*IN WALKED JIMMY" 95 

Jimmy. Didn't you ask me to help you? 

HiGGiNS. Answer Mr. Trellavan's question. 
What are you going to do ? 

Jimmy. Gentlemen, what do you think I'm going 
to do? We must all work together to lift the 
shadow of disgrace from the man who — (Notices 
the strange attitude of men) — who — so he can start 
life over again. Isn't that what you think we should 
do? (As he pleads for Billie, the men believe he 
is pleading for himself) He is young; you know 
that. A moment of impulse — and it was over. He's 
not bad at heart. Gentlemen, would you condemn 
a man for something he has since repented for? 
(No answer; he continues) Give him a chance to 
make good. Don't hand him over to the law — the 
merciless law that will stifle the good that is in him 
— that will crush his very soul, that will make of 
him a man without a future ! Gentlemen, let us see 
that he escapes ! f Higgins walks to doorway at l., 
thus blocking Jimmy's exit) 

John. My boy, where do you want to go? 

HiGGiNS. He can't get out this way. 

Jimmy. (Down l. Crosses to dozvn r.) Why 
do you disapprove, Mr. Higgins? 

HiGGiNS. And you can't get out that way. 

John. Can't- 



HiGGiNS. (To JoHN^ He's being watched- 



(To Jimmy j You've been watched — for weeks. 

Jimmy. Me? (To Htggins, as Kitty enters 
downh.) I — watched? What for? 

John. Suspicion has been directed towards you ! 

Jimmy. (Looks at John in a quandary; then, as 
if throwing a great weight from his shoidders, he 
says, serio-comically ) Me? They may as well 
direct suspicion toward me as toward anyone 
else. (Seniles; half-amused) And may I ask — 
why? 



96 "IN WALKED JIMMY" 

John. You arrived the very day of the hold-up, 

unfortunately. 

Jimmy. I always thought my arrival was very 
fortunate. 

HiGGiNS. No one knows where you came 
from 

Jimmy. What matters that? The HERE and 
NOW is what counts! 

John. But that's what caused the first germ of 
suspicion to grow. ("Jimmy smiles) 

Graham. (Aside to Bartlett) Look! He's 
laughing! (^Jimmy's smile grows broader; he 
chuckles; then gives vent to a hearty laugh) 

HiGGiNS. (Grouchy) I don't think much of a 
man who laughs in the face of trouble. 

Jimmy. Any fool can laugh when he's happy, 
Mr. Higgins. (^Higgins hurls his words at Jimmy. 
HiGGiNS stands at extreme l. of table, leans 07^er it. 
Jimmy is at extreme r. of table; he smiles his words 
across to Higgins. John up c. Bartlett and Gra- 
ham near window at back. Kitty listens, down l. j 

Higgins. To say the least, your laugh is as mys- 
terious as you are. 

Jimmy. Nothing in the world is mysterious 
when you understand it, Mr. Higgins. 

Higgins. Then, tell me, why did you come into 
town that day? 

Jimmy. I think that fire-escape of yours must 
have been the magnet. (Continues jesting) Or 
maybe I was foolish. I see now, I should have gone 
to a larger town where I couldn't have attracted 
so much attention. 

Higgins. I knew you couldn't answer my ques- 
tion. Let me ask you another. Why did you want 
to leave this building a moment ago? 

Jimmy. That's something for you to think about, 
Mr. Higgins. 



"IN WALKED JIMMY" 97 

HiGGiNS. You haven't answered my question. 
(Brings fist on table with a pound) 

Jimmy. No, sir. 

HiGGiNS. Will you answer it? 

Jimmy. No, sir ! 

Graham. Why not? 

Jimmy. Because you wouldn't believe me if I 
did answer it. 

HiGGiNS. You won't answer it, eh? Then I'll 
do it for you. You — ^you are the man who held up 
that train. (^ Jim my stands unmoved by the accu- 
sation) 

John. (Trembling) Mr. Hig-gins! 

HiGGiNS. I suspected him when I came up here. 
I'm sure NOW. Can't you see why he came to 
this town? He knew he was safe and secure so 
long as he was working in this factory. 

John. Mr. Higgins, this boy came to me when 
I was down and 

Jimmy. (Hurriedly silences him) J. T., that in- 
cident is closed. Remember, you promised me that, 
f John looks at Jimmy with a pathetic appeal) 

Higgins. The truth, sooner or later, comes to 
the surface. 

Jimmy. What's that, Mr. Higgins? 

Higgins. (Strong, as he faces Jimmy defiantly) 
The truth, sooner or later, comes to the surface. 

Jimmy. I hope you'll remember that. 

Higgins. Eh? (Picks up his hat) Trellavan, I 
wash my hands of this matter. It's a dirty affair! 

Jimmy. Washing your hands will do you no 
good. It's the SOUL that GOD INSPECTS ! 

Higgins. (Losing his temper) I shall sell my 
stock at whatever I can get for it. 

John. (Pathetically) Mr. Higgins — ("Higgins 
crosses to l. John puts his hand on Higgins' arm, 
appealingly) — you won't do that? It will ruin us. 



98 "IN WALKED JIMMY" 

HiGGiNS. At whatever I can get for it ! 

Jimmy. Mr. Higgins! ("Higgins exits down l.) 
Isn't Higgins handsome when he smiles Hke that? 
(Slight pause) He knows every deal I ever con- 
summated in this business has been honest and 
above board. 

Bartlett. In this town, yes ! 

Jimmy. And in every other town, Mr. Bartlett. 

Graham. Well, where there's SMOKE, there's 
A FIRE ! 

Jimmy. (Strong) And sometimes there's a 
FALSE ALARM ! 

Bartlett. (To Johnj Trellavan, I have ten 
thousand shares of stock I wish to dispose of 
quickly. If you'll buy them from me, I'll let them 
go at fifty cents on the dollar. 

Graham. I have a couple thousand shares I 
want to sell. I'll take forty cents on the dollar 

John. Good Heavens, men — that 

Jimmy. So, it's come to the point where you 
can't trust me? f Bartlett does not know how to 
answer the question; he senses Jimmy's superiority, 
yet he feels there is circumstantial evidence against 
him. For a moment, Bartlett scrutinizes Jimmy ; 
then he turns to John^ 

Bartlett. I'll see you to-morrow, Mr. Trella- 
van. ('Bartlett picks up his hat; he and Graham 
exit -L.) 

Jimmy. (Stands c. ; hands in pockets; almost 
unconcerned) J. T., you're in luck! Those men 
own somewhere around thirty thousand shares. 
You can buy them back for $1,500 — or less. It's a 
fine buy. 

John. Jimmy, my boy ! Come ! Sit down ! We 
want to talk this over ! (Sees Kitty ; does not want 
to talk on) 

Jimmy. That's all right, J. T. Miss Kitty is in- 



"IN WALKED JIMMY" 99 

terested in hearing all you have to tell me. Come, 
dear! (Motions Kitty to sit at table; she crosses 
to L., sits) 

John. My boy, I want to help you. (An air of 
sadness pervades, as if a bolt of sorrow had struck 
where happiness had once dwelt) When I said the 
man had been traced to this town, the color mounted 
to your cheeks. When I told you he had been 
watched, there was a nervousness apparent — a fear 
you couldn't keep down. Jimmy, tell me every- 
thing. 

Jimmy. (Silently glances at Kitty; then turns 
to John ; registers amazement at John's doubt; 
then, in a tone very lozv and in a manner as though 
he could not believe such a thing possible) J. T. ! ! ! 

John. It cannot hurt you to hear what I have 
said any more than it hurts me to have said it. I 
love you, boy. I feel grateful. You have given 
me a new life — and I'm going to pay you back — ^if 
it costs me every cent I own. But you must tell 
me! I know your coming to this town the day of 
the hold-up was a coincidence. But your action in 
trying to leave this building so suddenly — that I 
cannot understand. 

Jimmy. I didn't care when the others turned 
from me — so much — ^but you — J. T. — ^you 

Kitty. (Rises; walks to Jimmy; puts her arms 
around him) I'm here, Jimmy! (To Johnj / 
promised to marry Jimmy to-morrow, Mr. John. 
(To JiMMY^ Dear, you'll answer Mr. John for my 
sake, won't you? 

Jimmy. There's nothing to answer, dear girl. 
Mr. Trellavan saw. 

Kitty. But he seems to be in doubt. 

John. Much as I don't want to admit it, I can't 
understand 

Kitty. You hear, dear? 



lOO "IN WALKED JIMMY" 

Jimmy. (Puts her gently from him; with a soft 
smile) I have been here nearly a year. Mr. Trel- 
lavan has seen me every day. By this time, he 
should know that what I do, I do for the best. If 
he thinks my wishing to leave this building is an 
indication of my guilt, then — I — I regret it. I can 
say no more. 

John. This is the first thing I've ever asked you 
that you would not explain, Jimmy. 

Kitty. Why won't you? (^Jimmy watches 
John ; walks slowly tozvard r. j A few words might 
straighten out matters. We know you're innocent. 
f Jimmy stands resolute) Jimmy! Suppose, dear, 
I were to tell you my happiness depended upon my 
knowing — why you wanted to leave here so 
quickly ? 

Jimmy. (Looks at her with a wealth of love) 
Your happiness cannot depend on that, my dear. 

Kitty. (With fear) Does it depend upon my 
NOT knowing it? (Pause) Jimmy, I want the 
truth. Does it depend upon my not knowing it? 
(Long pause) 

Jimmy. Happiness often depends upon silence. 
I cannot tell you — I will not tell you — more ! 

Kitty. (Very disappointed) Jimmy! 

Jimmy. You and Mr. Trellavan must trust me. 

Kitty. But you are making us think the wrong 
thing. 

Jimmy. (Takes her hand in his; looks at her ten- 
derly) Kitty, my girl, you are everything in the 
world I have ever wanted — everything I ever 
SHALL WANT. Now that life projects its jagged 
places, help me over them — with your love. Trust 
me! 

Kitty. (As she sobs) You are making it so 
hard ! 

Jimmy. Isn't Love the divinity of Loyalty? — the 



"IN WALKED JIMMY" loi 

strength of FAITH ? Love needs no flimsy pretexts 
of innocence, dear. 

Kitty. Yes — but Love wants the beauty of Con- 
fidence. 

Jimmy. (He realises Kitty doubts him) You 
— too! You suspect? (The lines of his face set; 
his shoulders seem to droop. For a moment, he 
loses the vitality of youth; his voice loses its glorious 
ring) You — suspect? (Slowly; in retrospection) 
My father and mother fled from this country a few 
days after I was born. My father had been sus- 
pected of having stolen large sums of money from 
the bank of which he had been cashier. Shortly 
after, he died. The guilty man was caught years 
later, but suspicion — one of the greatest crimes the 
mind can give birth to — had killed my father. 
(Slight pause) You and J. T. suspect me now. 
You are trying to figure out why I came here — 
(Gradually, his old vigor and strength return) — 
why I have done what I have ; why I haven't asked 
for a large reward ; why I haven't answered the one 
question you put to me. I'll tell you — if you must 
know. (Strong, as Arnold enters down L.J All 
that I can tell you — is — I've tried to help others. I 
am HELPING OTHERS NOW. That's why I 
wanted to leave this building. 

Arnold. That's a pretty good line of talk. 

Jimmy. (Wheels about briskly; sharp) I don't 
expect you to believe it. It takes a BIG man to 
grapple with naked truth ! (Officer enters down L.) 

Officer. A warrant has been sworn out for 
your arrest. 

Jimmy. (Quietly) On what charge ? 

(WARN CURTAIN) 
Officer. You answer the description of one of 



102 "IN WALKED JIMMY" 

the men who held up the train at Devirs Curve, on 
the morning of April the second. 

Jimmy (Smiles contentedly ; Kitty sinks down 
at table) Ah, a new experience to add to those that 
have gone before. 

John. (Weakly) Jimmy — my boy 

(Stretches out both his arms toward him) 

Jimmy. (Pats John affectionately) God bless 
you, J. T. — until I get back. 

Officer. Are you ready ? 

Jimmy. Just a moment, Officer. (To Johnj 
Michaels, in the cutting room, just lost his wife. 
I've given him a week's vacation on full pay. J. T., 
for my sake, give him another week. I — I know 
how he feels ! (Turns to Kitty ; crosses to her; ex- 
tends his hand) Good-bye, my girl! 

Kitty. Good-bye, Jimmy 

Jimmy. There will never be an hour in the day 
when I'll not be thinking of you, my girl. God keep 
you! (Room has become very dark. It is pouring 
outside. Jimmy gets his hat and coat; straightens 
up; puts on coat; looks around room — a look in 
which there is a flash of sadness; then, in a voice 
full of conviction, mingled with a keen sense of 
humor) Officer, I can't remember when I lived 
through a warmer day in December. (^Officer 
stands smiling. Jimmy grabs his arm; then links his 
arm through that of Officer. Jimmy smiles hap- 
pily; jests with Officer j Officer, you're just hand- 
some when you smile like that!!!!! (Jimmy and 
the laughing Officer exit arm in arm down L., as 
John, Kitty and Arnold stand looking at each 
other, deeply touched by Jimmy's amazing and un- 
faltering Optimism) 

QUICK CURTAIN 



ACT IV 

Scene. Same as in Act III. 6.30 P.M. 

CURTAIN RISES. Discovered — two men attach- 
ing the dictograph to desk dozmi c. The rug 
has been moved hack, revealing the floor on 
which is a wire that extends from the desk to 
the room at l. The one detective straightens 
the rug. The other detective is working with 
the little instrument at desk. lust enough of 
this '"business" to get over that the dictograph 
is there — and that Arnold hopes to "get" 
Jimmy zvith it. Throughout the business of at- 
taching the dictograph, Arnold has stood close 
by, silently watchful. His attitude is one of 
pompousness ; a cock-sured look is on his face; 
he is certain Jimmy is guilty and the very 
thought of it makes him happy. A second or 
two of silence — as the men work — then 

Detective. There! It's planted! Everything's 
O. K. ! 

Arnold. Good ! 

Detective. What's the idea ? What's this young 
fellow got to do with — (Points to dictograph) — all 
this? 

Arnold. Oh, I can't go into details now, but 
there's something crooked somewhere. A suit of 
clothes that belonged to The Kid was found in the 
Manager's office the day he was arrested. There's 
something between those two — and we're going to 
find out what it is. 

Detective. It's the man with the smile you are 

after 

103 



104 "IN WALKED JIMMY" 

Arnold. Sure, but I want to get "something" 
on The Kid. I've got a mighty good reason. 

Detective. (Smiles) I'm wise. He's got a 
sister. 

Arnold. Never mind why. Let's get to busi- 
ness. Is this thing working right? 

Detective. Couldn't work better. You can hear 
every whisper. 

Arnold. Now, understand. You stay in that 
room — (They cross slowly toward L. Arnold 
points L.J — get every word that's spoken in here, 
and get it right, for you may have to swear to it in 
a court of law. They'll plant an officer in there by 
the back way, for a witness. Another thing — ^you've 
got the wires hidden? 

Detective. Under the carpet, just as they are 
in here. 

Arnold. If anyone comes, "duck." If you get 
caught, keep me out of it, understand? 

Detective. Sure ! Don't worry about me ! (^De- 
tective exits L. Bobby enters R. Does not see the 
exiting Detective J 

Bobby. (With an air of gravity) Are those ex- 
pert accountants still working on Jimmy's books? 

Arnold. They are ! 

Bobby. And we are to remain here until — we 
know the result? 

Arnold. Yes. 

(Kitty enters down r.J 

Kitty. (To Arnold J You sent for me? 
C Bobby exits up r. gravely) 

Arnold. (Watches Bobby exit; then comes close 
to KittyJ Yes. Listen, Kitty — you don't mind if 
I call you "Kitty"? 

Kitty. (Buoyantly) That's my name. 



"IN WALKED JIMMY" 105 

Arnold. Then we — ^you and I — may dispense 
with formahty? 

Kitty. (Laughingly) Of course. Isn't formal- 
ity the religion of fools? 

Arnold. (Still in love with Kitty J Now, you 
are happy — just as I've always wanted to see you. 

Kitty. (^Arnold has come up very close to her; 
she holds him ojf at arm's length as she steps away 
from him) I love the world to-day — and every- 
thing in it — because I am so happy. 

Arnold. (So conceited he can't see the truth) 
Kit, I just knew I'd make you happy — SOME 
DAY! 

Kitty. But — ^you're wrong — it's Jimmy 

Arnold. What ? 

Kitty. For a short time, I did lose faith in him, 
but it has come back stronger / than ever. Since 
then I've worked — for Jimmy — and I've proven an 
alibi. (With unconcealed enthusiasm) 

Arnold. An alibi ? How ? 

Kitty. Yesterday, in the cash drawer of our 
safe, I found an old railroad ticket signed by 
Jimmy. I took it to Collins, the ticket agent, and 
he said it proved Jimnw's innorence, 

Arnold. (With sarcasm) That's irr^rossible. 

Kitty. You knov/, when a man travels at night, 
the conductor takes his ticket and gives him an iden- 
tification slip for it. In the morning, the ticket is 
returned to its owner., ^^ou should know that. 

Arnold. (X's to window; looks out absent- 
mindedly) Well ? 

Kitty. The hold-up occurred at two in the 
morning, didn't it? 

Arnold. Yes. 

Kitty. The bandit did not remain on the train 
AFTER the hold-up, did he? f Arnold turns to 
her; says nothing) He was no fool. Admit that. 



io6 "IN WALKED JIMMY" 

Arnold. The bandit escaped. 

Kitty. The fact then that Jimmy*s ticket was 
in the safe proves he was on the train all night. 

Arnold. Ha, ha! (The laugh, a sarcastic one, 
offends KittyJ 

Kitty. If he wouldn't have been on the train 
all night, how could he have gotten his ticket back ? 

Arnold. There's no evidence. 

Kitty. The lawyers seem to think otherwise. 
They are sure that the ticket will clear him. 

Arnold. The thing's absurd. 

Kitty. Wait and see. 

Arnold. (Again drawing close to her) Kitty — 
can't you see— I— LOVE YOU??? 

Kitty. Please — don't 

Detective. (Appears at door at l.) I got every 
word — shall I keep that last part in ? 

Arnold. No. That's private. 

Detective. There's nothing private about "I 
LOVE YOU." They are the commonest words in 
the English language. Divorce statistics prove that. 
(Laughs) Whenever a man wants his own "Fourth- 
of-July" — he goes out and says *T love you." Then 
the FIREWORKS BEGIN ! (Exits up l., laugh- 
ing) 

f BiLLiE enters down l., nervously; watches the De- 
tective off; then turns to Arnold^ 

BiLLiE. I can't understand why — (He turns to 
Kitty j — they sent for me. 

Kitty. Billie! What's wrong, dear? (As she 
crosses to him) You're trembling like a leaf. 

Billie. Kit, you've been a brick to me. Fm 
afraid 

Kitty. Of what? 

Billie. I'm in trouble — ^maybe — -«• 



"IN WALKED JIMMY" 107 

Arnold. (With a degree of superiority and in a 
tone that signifies he thinks he has caught the cul- 
prits) Trouble's Hell, isn't it? 

Kitty (Her arms about Billie; answers 
strong) Hell is HEAVEN— if you want to THINK 
THAT WAY! 

Billie. You'll stick by me, won't you, Kit?^ 

Kitty. You know I will. Only tell me, Billie— 

tell me what is troubling you (She has him in 

her arms, and lovingly she smooths his hair hack 
as she waits for Billie to explain the predicament 
he is in. A whistle is heard^KiTTY cries out) 
That's Jimmy 

Arnold. (Quickly) You come with me, Kitty. 

(Enter Jimmy, followed by the two Officers 
down L.J 

Jimmy. Hello, everybody ! 

Kitty. (Rushing to him) Jimmy! Jimmy! 

Jimmy. (Taking hold of both of Kitty's hands; 
pulls her to him, but stops as he is suddenly aware 
of the two Officers ; comedy business here) My 

girl! 

Kitty. You're released, dear? 

Jimmy. No. My two good friends are sticking 
pretty close to me. (With a smile) 

Arnold. (Clearing his throat as a signal for 
Kitty to come with him) Ahem ! 

Jimmy. (Sees Arnold for the first time) 
Hello ! ! How are you ? 

Arnold. (Does not answer Jimmy; to Kittyj 
I want to see YOU. (Smile stuff here between 
Jimmy and Arnold. Jimmy tries his best to get a 
smile from Arnold, but Arnold will not smile. 
Arnold exits r. and Jimmy, undaunted, whistles 
blithely "Patches" or "The Vamp'' (something up- 



io8 "IN WALKED JIMMY" 

tO'date) as he tries to get over to Kitty that he 
still is as happy as of old) 

Officer. Tm going to leave you for a minute — 
I'll parole you in the custody of Miss Kitty, and I 
know you'll not try to run away. 

Jimmy. Run away from — Miss Kitty? 
NEVER ! (Smiles) 

Officer. (To Kitty^ He's pretty strong with 
the bunch at the jail, Miss. 

Jimmy. (In a rollicking manner; to Kitty j I'm 
getting into "high society." 

Officer. (To Second Officer^ See who is in 
that room, f Second Officer X's to l. He opens 
door) Empty, eh? Then come on, I'll be back in 
about five minutes. (Both Officers exit l.) 

Kitty. Forgive me, Jimmy. I did not know 
what I was doing that day — nor what I was saying. 
Nor for one moment did I lose my love for you. 

Jimmy. Real love, my girl, can never be lost. So 
long as there's a world. Humanity will stand Pris- 
oner before Love, the Jury of Eternity! 

Kitty. Then you don't think it strange that I 
haven't tried to see you? I wanted to prove my 
Faith in you. They told you about the ticket? 

Jimmy. What ticket, dear? 

Kitty. Your railroad ticket — the one I found — 
the one that brought you to this town. ('Billie 
stands down l., listening intently. Jimmy appears 
surprised; is silent) Your ticket! Mr. Collins, the 
agent at the depot, told me I've proven an alibi. 

Jimmy. I never thought about that ticket. 

Kitty. I wonder why they did not tell you about 
It. 

Jimmy. The jail's no place for sociability, 
Kitty. 

Kitty. Then why did they send you here — at 
this hour ? (She must get this over strong to audi- 



"IN WALKED JIMMY" 109 

ence — that there is a reason for Jimmy's presence 
at such an unusual hour. Jim My registers that he 
knows "something is doing.'' He looks at Billie, 
worriedly) What's wrong? 

Jimmy. (Trying to make light of Kitty's fear) 
Nothing, dear. I'm just an important personage. 
Look out of that window — and you'll see my body- 
guard. 

Kitty. I don't understand, Jimmy — ^but I'm 
afraid 

Jimmy. Forme? Nonsense! I'm protected day 
and night. 

Kitty. When I think of you — in jail 

(Then, very girlishly) What kind of a room have 
you? And the meals, dear, are they 

Jimmy. God gave us the wisdom to remain si- 
lent at times ! (Arnold's voice is heard calling 
"Kitty" J Go, dear. Come back as soon as you 
can. (^JiMMY takes Kitty's hands in his; looks 
lovingly into her eyes; draws her to him, zvhen he 
remembers that Billie is in the room; glances to- 
wards Billie; lets Kitty go; comedy business. 
Kitty exits R. Jimmy smiles at Billie, who is 
standing with fear in his heart and in every one of 
his features. Jimmy smiles; whistles; suddenly reg- 
isters that he notices something : Jimmy's alert eye 
sees the wire extending dozvn the leg of the desk; 
Billie is about to say something when Jimmy 
quickly motions to him to say nothing. Jimmy, very 
mysteriously, walks around desk, scrutinizing it 
from all angles as John T. enters r. ; rushes to 
JimmyJ 

John. My boy (Clasps Jimmy's hands) 

Jimmy. J. T. ! 

John. I've just come from the Jail. They told 
me you were here under the surveillance of two 
officers. 



no "IN WALKED JIMMY" 

Jimmy. (Laughs) I started out with one, but 
the force was enlarged. 

John. My boy, what does it mean? 

Jimmy. All noted individuals are "chaperoned" 
free of charge by the United States Govern- 
ment. 

John. Do you know everything points to your 
favor ? The books are in excellent condition. Even 
Higgins and Bartlett admit they have done you an 
injustice. They demand to be given back the 
amount of shares they originally held in this com- 
pany. But that's impossible. 

Jimmy. You BOUGHT their shares? 

John. Yes. I now own forty thousand, half of 
which I shall give to you. 

Jimmy. J. T., don't get reckless. 

John. No amount of talk on your part can 
make me change my mind. You heard about the 
ticket? 

Jimmy. Kitty told me. 

John. It will be only a matter of a few hours 
at the most before you are released. I'm going 
down to Judge Marlow now. See you later, f John 
exits R. Jimmy quickly motions to Billie to remain 
silent. Jimmy quickly glances to l.) 

Jimmy. (Tense, but quiet) Sit down, Billie. 
("Billie sits r. Jimmy sits L.J Good God, to be 
innocent — and yet suspected. Boy, I hope you'll 
never know what that means. (Rises; appears to 
be in evident distress) I tell you, there's only one 
way to THINK— that's the RIGHT WAY— only 
one way to LIVE— that's the RIGHT WAY. (Ap- 
pears to be in agony of mind) If only he — HE had 
lived that way — all this would never have hap- 
pened. (Back of desk) 

Billie. He? Who? What do you mean? 

Jimmy. (Pulls out a telegram from his pocket; 



"IN WALKED JIMMY" in 

shows if to BiLLiE j Look ! Here's a telegram. I 
received it last week. Read. ^^ 

BiLLiE. (Reads gram) "Jake Conley dead. 

Who's Jake Conley? t. .; • , ^ n^u 

Jimmy. (Turns to l. as he speaks plainly) ihe 
man who held up that train at the Devil's Curve on 
the morning of April the Second. I was traveling 
with him. He — well, when I next saw him, he 

seemed crazed, wild-eyed Oh, I don't want to 

think of it. 

BiLLIE. But 

Jimmy. You think it strange that I allowed sus- 
picion to fall on me? I did that to save his wife— 
from learning the truth. It's a big thing, boy, to 
keep a woman from being miserable. ('Officer en- 
ters from L. BiLLiE has put telegram on desk. 
Officer walks slowly around room for a moment. 
Jimmy remains silent. Officer reaches desk; his 

eye on gram) Well? I'm ready. Officer fpF- 

FicER has picked up gram; reads it; he came into 
room for purpose of reading gram. Jimmy winks 
to BiLLiE to keep silent) . 

Officer. (Calling into room at h.) Never mmd, 

Muggins! . J 1 r^t 

Jimmy. Never mind? Never mmd what, Ut- 

ficer ? 

Officer. (Points to under desk) Oh— see for 

yourself. (Smiles) ^ , ,. , ^r . 

Jimmy. (Pretends to examine the dictograph) 
What's ail this? , , , 

Officer. That's something that helps us get a 
man when-WE WANT HIM. 

Jimmy. (Pretending surprise) Really???.'' 

Officer. (Thinks he is some smart man) Yes 

siree ' 

TiMMY. (Smiling) Officer, how many girls have 

called you "CUTEY"??? 



112 "IN WALKED JIMMY" 

Officer. (Becomes very official-like) You don't 
mind if I take this for a moment? 

Jimmy. (As Officer picks up telegram) With 
my compHments ! (^Officer exits l. Door is closed 
with a hang. Jimmy realises someone is still listen- 
ing. He speaks in a peculiar tone) This is what 
they call a dictograph. I wonder why they put that 
in here. 

BiLLiE. Why did they? 

Jimmy. If I knew, I wouldn't be wondering. 
Unless they wanted to get ME. (Still looking at 
the wire and receiver with interest) Strange how 
some persons suspect others of doing wrong. Have 
you a pencil with you ? f Billie hands him a pencil) 
Thanks! Address an envelope for me. (^ Jim my 
begins to zvrite soinething on back of letter which 
he takes from his pocket. Billie picks up envelope 
from desk) To Mrs. Jake Conley. I'm going up 
to the city to see her. We were school pals together. 
Boy, when I get back 

Billie. I want to work for you. I'm going to 
stay here and learn to make shoes. Will you teach 
me? 

Jimmy. Certainly. When I get through with 
you, you'll be so superfine we'll have to pure-food- 
label you, "Guaranteed, no taint or artificial colors." 
('Officer enters l. Jimmy again surprised) Hello, 
you're back. (^Officer puts gram, on table) 

Officer. (Calling into room at L.j All right, 
Muggins. 

Jimmy. I don't understand this, Officer. 

Officer. I beg your pardon, sir, but there are 
certain formalities of the law that must be dispensed 
with — before you can be released. It will be only 
a matter of an hour or so — before you're cleared. 
In the meantime, I've got to stick around. 

Jimmy. (Pushing the Officer to the L.j If you 



'IN WALKED JIMMY" 113 

must "stick," "stick" in there. And do me the favor 
of falling ASLEEP. I've some business to attend 

to (Winks at the Officer J You know the 

kind I mean — when dreams come true ("Offi- 
cer laughs, knowingly) You're just handsome when 
you smile like that ! ! ! ! ("Officer exits l., laughing. 
Jimmy disconnects the dictograph; to Billie, 
tensely) Whew ! That was a close shave. 

Billie. How did you know that desk was wired? 

Jimmy. I suspected I wasn't being brought here 
just for an "airing." When I saw you, I knew they 
wanted to get us together — alone. I surmised we 
were having an audience, so I played up to the cli- 
max. When I saw the wires and that little receiver 
— I kept on playing into it — even after the Officer 
suggested I wasn't wanted any longer. 

Billie. But the telegram ? 

Jimmy. I had a friend send that to me. I asked 
for it the day you came back to this town. I knew 
the time would come when I could use it to save 
you. 

Billie. Who is Jake Conley? 

Jimmy. (Lightly) Don't you know? 

Billie. No. 

Jimmy. I don't — either! 

(WARN CURTAIN) 

Billie. You mean no such person ever lived? 

Jimmy. I mean there's no detective in the world 
so clever but what he can't be FOOLED ! ("Billie 
clasps Jimmy's hand and looks gratefully into Jim- 
my's eyes as Kitty enters r. j 

Billie. You're the best friend I've ever had. 

Jimmy. (Releasing Billie's hand; buoyantly) 
Kitty, my girl, are you prepared ? Within an hour 
or two, it's to that Right Reverend for us. (He 
wants to take Kitty in his arms; in order to get 
Billie out of the room, he says jovially) Good-bye, 



114 "IN WALKED JIMMY" 

BilHe. CBiLLiE understands; smiles) Kid, you're 
just handsome when you smile hke that! fBiLLiE 
exits R., laughing. Jimmy stands, looking at Kitty 
with pride and love. Kitty registers worry) What 
is it, dear? 

Kitty. I love you, dear. Haven't I the right to 
ask you just one question? It's on my mind. I 
keep asking myself — who are you? Won't you an- 
swer me that, truthfully? (Pause. Then Jimmy 
takes her into his arms) Who are you? 

Jimmy. You'll not tell anyone? 

ICiTTY. No. Not a soul. (Lights get lower) 

Jimmy. Honor bright? 

Kitty. (Mischievously; as she looks up into his 
eyes) Cross my heart. 

Jimmy. Well, then — Vm * 

Kitty. Yes 

Jimmy. I am 

Kitty. Yes 



Jimmy. The leading man in this play ! (]iuuy 
hugs Kitty to him tighter, and plants a kiss upon 
her lips, as THE CURTAIN QUICKLY FALLS) 



LbFe'Z 



'91 



